E  METROPOLITAN  MUSEUM 
OF  ART 


CATALOGUE 
OF 

A  SPECIAL  EXHIBITION 

OF 

TEXTILES 


NEW  YORK 
MCMXV-MCMXVI 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/catalogueofspeciOOmetr_0 


CATALOGUE 
OF 

A  SPECIAL  EXHIBITION 
OF 

TEXTILES 


THE  METROPOLITAN  MUSEUM 
OF  ART 

CATALOGUE 
OF 

A  SPECIAL  EXHIBITION 

OF 

TEXTILES 


NEW  YORK 
MCMXV-MCMXVI 


COPYRIGHT 
BY 

THE  METROPOLITAN  MUSEUM  OF  ART 
JANUARY,  MCMXVI 


PREFACE 

THE  Special  Exhibition  of  Textiles  which  the  Museum 
has  arranged  serves  a  double  purpose :  first,  of  calling 
the  attention  of  the  general  public  to  the  really  excel- 
lent variety  of  historic  w^oven  stuffs  owned  in  New  York  City 
by  museums  and  private  collectors;  second,  of  placing  before 
the  manufacturers  and  designers  active  in  the  textile  trade  ex- 
amples of  the  best  woven  materials  of  past  centuries,  as  a 
stimulus  to  artistic  production  at  a  time  when  American  makers 
are  feeling  the  great  possibilities  the  present  moment  affords 
for  the  development  of  home  industries.  One  of  the  noticeable 
results  of  the  European  war  has  been  the  difference  made  in  the 
textile  trade,  either  through  interference  with  international 
transportation  or  through  the  closing  of  the  continental  fac- 
tories which  have  previously  supplied  the  American  market  with 
a  large  portion  of  the  woven  stuffs  used  in  this  country.  A 
purchaser  now  going  the  rounds  of  the  shops  finds  that  perhaps 
half  of  the  familiar  fabrics  he  is  most  anxious  to  secure  were 
manufactured  in  Belgium  and  in  Alsace-Lorraine,  and  that 
American  merchants,  since  the  complete  demoralization  of  that 
region,  have  of  course  been  unable  to  fill  their  depleted  stocks 
from  abroad  and  are  obliged  to  withdraw  almost  all  foreign 
samples  from  the  market.  The  French  factories  which  existed 
in  considerable  numbers  in  the  vicinity  of  Lille  are  now  partly 
destroyed,  while  many  workmen  from  the  mills  in  other  parts 
of  the  country  have  gone  to  the  front,  as  a  result  of  which  the 
industry  is  practically  paralyzed  throughout  France.  English 


vi 


PREFACE 


factories  are  not  so  seriously  affected,  but  their  output  has  been 
somewhat  diminished,  and  they  cannot  pretend  to  fill  the  place 
of  the  inactive  continental  mills.  The  closing  of  European 
sources  of  goods  is  a  circumstance  of  which  American  manufac- 
turers are  preparing  to  take  advantage,  and  a  distinct  improve- 
ment in  the  output  of  our  national  looms  may  be  expected  as 
one  of  the  better  things  growing  out  of  the  war.  Paterson, 
New  Jersey,  where  many  silk  mills  are  located,  has  recently 
entertained  the  First  National  Convention  of  Silk  Manufac- 
turers, which  was  enthusiastically  attended,  one  of  the  features 
of  the  meeting  being  a  loan  exhibition  of  historic  textiles  ar- 
ranged in  the  City  Hall,  to  which  many  museums,  private 
collectors,  and  dealers  contributed.  The  interest  of  the  manu- 
facturers in  the  finer  productions  of  the  past  has  been  constantly 
growing,  and  it  is  in  response  to  this  that  the  Museum  has 
organized  the  exhibition  just  opened. 

For  the  past  few  years  the  Museum  collection  of  textiles  has 
been  systematically  increased  until  it  has  reached  a  position  of 
usefulness  and  comparative  completeness  for  study  purposes, 
and  much  of  the  material  included  in  the  Special  Exhibition  is 
permanently  available  to  the  public  here.  Many  additional 
pieces  not  shown  on  this  occasion  can  be  consulted  in  the  Study 
Room  of  Textiles  in  the  basement  of  the  Wing  of  Decorative 
Arts.  This  study  room  was  described  in  the  Bulletin  for  Jan- 
uary, 191 5,  and  the  Museum  collection  was  outlined  in  a  spe- 
cial supplement  for  May,  191 5.  However,  many  of  the  more 
splendid  pieces  included  in  the  exhibition  are  temporary  loans  of 
a  character  not  previously  shown  publicly  in  New  York.  The 
Museum  for  the  Arts  of  Decoration  at  Cooper  Union  and  Pratt 
Institute,  of  Brooklyn,  have  both  very  kindly  allowed  the  Metro- 
politan to  draw  on  their  admirable  collections  of  textiles,  the 
former  for  examples  of  rare  and  valuable  early  weaves,  the  lat- 
ter for  Ottoman  velvets  and  European  silks  of  importance. 
Much  of  the  interest  of  the  exhibition  is  due  to  the  cooperation 
of  these  two  institutions,  through  their  Directors,  represented 
in  the  one  case  by  the  Misses  Hewitt,  in  the  other  by  Mr. 


PREFACE 


vii 


Frederick  B.  Pratt.  Private  collectors  who  have  responded 
generously  include  Dr.  Denman  W.  Ross  and  Mr.  H.  E. 
Wetzel,  of  Boston,  w^ith  examples  of  very  early  v^^eaving.  Mr. 
Charles  L.  Freer,  of  Detroit,  has  lent  two  Chinese  tapestry 
panels  of  the  Sung  Dynasty.  Messrs.  Robert  W.  de  Forest, 
George  Blumenthal,  Mortimer  L.  Schiff,  Julian  Clarence  Levi, 
Bashford  Dean,  and  H.  Oothout  Milliken,  Mrs.  Charles  T. 
Barney  and  Mrs.  Edward  Robinson,  all  of  this  city,  and  Mrs. 
Archibald  G.  Thomson,  of  Philadelphia,  have  lent  numerous 
velvets  and  silks  of  beauty  and  unusual  quality.  Mr.  H.  G. 
Dearth  has  presented  the  Museum  with  a  fine  specimen  of 
Lyons  silk,  especially  for  the  purposes  of  this  exhibition. 

The  exhibition  is  limited  to  patterned  stuffs,  shuttle  and 
bobbin-woven  on  the  loom,  and  does  not  include  tapestries,  rugs, 
and  embroideries  as  such,  although  a  fine  tapestry  technique  is 
used  in  many  of  the  Coptic  and  Chinese  textiles,  which  were 
made  rather  as  garments  than  as  wall  hangings.  Plain  materials 
are  also  not  shown,  as  their  interest  to  most  visitors  is  far  less 
than  that  of  the  patterned  weaves,  which  have  a  higher  artistic 
and  historic  value,  intrinsically  considered. 

In  addition  to  the  main  collection  in  the  large  Temporary 
Exhibition  Gallery,  E-ii,  the  eighteenth-century  stul¥s  are 
shown  in  the  adjoining  Lace  Galleries,  while  one  room,  E-io, 
is  given  over  to  paintings  and  photographs  of  historic  portraits, 
illustrating  the  various  types  of  pattern  and  material  as  used 
at  the  period  of  their  manufacture. 

With  few  exceptions,  all  of  the  pieces  exhibited  were  made 
subsequent  to  the  beginning  of  the  Christian  era  and  show  the 
changes  in  technique  and  design  of  the  different  civilizations 
current  in  Europe  and  Asia  between  the  first  century  and  the 
beginning  of  the  nineteenth. 

The  order  of  arrangement  of  both  exhibition  and  catalogue 
is  shown  in  the  Table  of  Contents;  it  follows  as  nearly  as  pos- 
sible the  development  of  textile  art  as  it  can  be  traced  from 
country  to  country  and  century  to  century,  at  least  so  far  as 
surviving  examples  illustrate  the  process.    Throughout  the  his- 


viii 


PREFACE 


tory  of  European  weaving,  as  indicated  in  the  first  two  chap- 
ters, development  was  chronological  rather  than  national,  and 
the  current  fashion  was  much  more  potent  in  determining  the 
character  of  a  European  stuff  than  the  country  in  which  it 
happened  to  be  made.  In  the  Orient,  however,  as  the  third  and 
fourth  divisions  show,  national  tradition  was  more  powerful 
than  new  ideas,  and  two  Asia  Minor  pieces  made  some  hundreds 
of  years  apart  are  more  nearly  alike  than,  for  instance,  a  Vene- 
tian silk  of  the  sixteenth  and  one  of  the  seventeenth  century. 

The  exhibition  has  been  arranged  and  the  catalogue  written 
by  the  members  of  the  Department  of  Decorative  Arts:  Durr 
Friedley,  Acting  Curator;  Frances  Morris,  Assistant  Curator; 
William  M.  Milliken  and  Russell  A.  Plimpton,  Assistants. 


CONTENTS 


PAGE 

Preface    v 

Table  of  Contents  ix 

List  of  Illustrations  xi 

Introduction   xiii 

Catalogue   i 

I    Early  Weaves                                                 .  I 

"Coptic,"  Late  Classical,  I-III  Century  .       .  7 
''Coptic,"  Early  Christian,  III-VII  Century    .  7 
Later  "Coptic"  and  Byzantine,  VI-XIII  Cen- 
tury   12 

Peruvian,  Prehistoric      .       .       .       .  .19 

II    European  Textiles      .       .       .       .       .  .20 

Mediaeval,  X-XV  Century    .       .       .  .26 

Renaissance,  XV-XVI  Century       .        .  -35 

Baroque  and  Rococo,  XVII-XVIII  Century  .  50 

III  Near  Eastern  Textiles        .       .       .       .  .64 

Indian   68 

Persian   ........  69 

Asia  Minor  77 

Saracenic  and  Hispano-Moresque  .  .  .86 
Perso-Slavonic  91 

IV  Far  Eastern  Textiles  ......  92 

Chinese  93 

Japanese  96 


ix 


LIST  OF  ILLUSTRATIONS 


FACING 
PAGE 


2 

Tapestry,  ''Coptic,"  III  Century  .... 

10 

20 

Tapestry,  ''Coptic,"  V  Century  .... 

10 

55 

Silk  Weave,  Byzantine,  XI  Century.    Lent  by  the 
Museum  for  the  Arts  of  Decoration  at  Cooper 
Union  ........ 

16 

57 

Brocade,  Syro-Egyptian,  about  1300 

18 

6i 

Brocade,  Italian  or  Sicihan,  XII  Century 

26 

8o 

Brocade,  Italian,  End  of  XIV  Century  . 

30 

85 

Brocade,   Italian,   XIV-XV  Century.     Lent  by 
H.  E.  Wetzel  

30 

93 

Brocade,  Italian,  Venetian,  Second  Quarter  of  XV 

Century.    Lent  by  the  Museum  for  the  Arts  of 
Decoration  at  Cooper  Union      .       .       .  .34 

104    Velvet,  Italian,  XV  Century.    Lent  by  the  Estate 

of  Theodore  M.  Davis      .       .       .       .  .36 

108    Brocade,  Italian,  XV  Century.    Lent  by  Pratt  In- 
stitute of  Brooklyn  38 

125    Velvet  Brocade,  Italian,  End  of  XV  Century    .  40 

127    Cope,   Spanish,   Early  XVI   Century.     Lent  by 

George  Blumenthal  42 

180    Brocade,  Spanish,  XVI  Century  .       .       .  .50 

230    Brocade,  French,  Early  XVIII  Century       .       .  56 

308    Brocade,  Persian,  XVII  Century  .       .       .  .70 

287    Silk  Brocade,  Persian,  XVI  Century.    Lent  by 
the   Museum   for   the  Arts  of   Decoration  at 
Cooper  Union    .......  70 

xi 


Xll 

LIST  OF  ILLUSTRATIONS 

FACING 

PAGE 

289 

Brocade,  Persian,  XVI  Century  .... 

72 

284 

Brocade,  Indian,  XIX  Century  .... 

74 

306 

74 

344 

Gold  Brocade,  Asia  Minor,  XVI  Century  . 

74 

"3  0  C 

Velvet  Brocade,  Asia  Minor  or  Italian,  Late  XV 

Century  ........ 

7<5 

Velvet  Brocade,  Asia  Minor,  Early  XVI  Cen- 

tury.   Lent  by  Mrs.  Charles  T.  Barney 

oO 

368 

Silk  and   Cotton  Weave,  Hispano-Moresque, 
XIV  Century.    Lent  by  the  Museum  for  the 

Arts  of  Decoration  at  Cooper  Union  . 

86 

388 

Velvet  Panel,  Chinese,  XVIII  Century.  Lent 

by  George  Blumenthal  ..... 

94 

394 

Gold  Brocade,  Japanese,  XVIII  Century 

96 

INTRODUCTION 


W 


EAVING  is  among  the  most  ancient  of  the  arts,  and 
the  loom  was  the  first  mechanical  contrivance  in 
which  man  brought  together  individual  tools  to 


form  a  complex  organic  whole.  Woven  stuf¥s  were  created  as  a 
more  convenient  substitute  for  animal  skins  in  the  making  of 
garments,  and  later  furnished  a  lastingly  fertile  means  of  ex- 
pression for  the  sense  of  ornament  which  seems  to  be  a  perma- 
nent weakness  of  human  nature.  Weaving  and  agriculture  are 
equally  universal,  and  almost  equally  necessary  to  the  race. 
The  contest  between  Pallas  and  Arachne  for  supremacy  at  the 
loom,  the  raveled  web  of  Penelope,  the  ten  curtains  prescribed 
for  the  Tabernacle  of  Israel — "of  fine  twined  linen,  and  blue, 
and  purple,  and  scarlet:  with  cherubim  of  cunning  work" — all 
bear  witness  to  the  high  place  of  ornamented  fabrics  in  ancient 
tradition  and  law.  Because  of  their  fragile  and  perishable 
nature,  no  very  early  stuffs  have  survived  except  those  of 
Egypt,  and  these  are  all  plain  and  undecorated  until  the  begin- 
ning of  Roman  dominance.  Babylonian  textiles  were  contem- 
porary with  Egyptian,  but  if  surviving  sculptures  can  be  taken 
as  authority,  the  kings  of  the  Euphrates  Valley  wore  sumptu- 
ously decorated  garments  rich  in  fringes  and  borders,  which  may 
have  been  either  embroidered  or  made  in  tapestry  stitch.  The 
archaic  Greeks  had  also  a  taste  for  patterned  dress,  but  they 
preferred  fine  spray  designs  and  light  borders,  which  may  or 
may  not  have  been  woven  on  the  loom. 

The  materials  for  all  primitive  textiles  in  the  Occident  were 

xiii 


xiv 


INTRODUCTION 


linen  and  wool,  sometimes  cotton,  and  because  of  this,  early 
stuffs  were  probably  of  a  texture  which  we  should  today  think 
coarse  and  heavy.  Silk  was  known  to  the  Chinese  at  a  very 
remote  period  in  their  civilization,  but  the  process  of  its  produc- 
tion and  manufacture  was  kept  a  state  secret  until  past  the 
beginning  of  the  Christian  era,  when  the  people  of  the  nearer 
Orient  began  to  practise  the  art  of  silk  weaving.  Aristotle  is 
the  first  western  writer  to  mention  the  existence  of  silk,  and 
Heliogabalus  was  the  first  emperor  to  be  dressed  entirely  in 
silken  stuffs  imported  from  the  East.  Virgil,  Martial,  and  Pliny 
refer  to  silks  as  among  the  treasures  of  the  rich,  and  Propertius 
says  of  Cynthia  that  "perchance  she  glistens  in  Arabian  silks." 
Ancient  Chinese  stuffs  penetrated  to  very  distant  countries  and 
there  was  unquestionably  a  trade  route,  long  anterior  to  Roman 
civilization,  between  Europe  and  farther  Asia,  a  fact  from 
which  some  writers  hold  that  not  only  silk  as  a  material,  but 
also  the  ability  to  weave  patterned  fabrics  on  the  shuttle  loom 
was  derived  from  the  Chinese.  The  production  of  silk  in 
Europe  is  said  to  have  begun  about  the  middle  of  the  sixth 
century  A.  D.,  when  eggs  of  the  silkworm  concealed  in  the 
hollow  of  bamboo  walking  staves  were  brought  to  the  Emperor 
Justinian  at  Byzantium  by  two  Nestorian  priests  who  had  spent 
years  in  China  learning  the  complete  process  of  sericulture. 
The  introduction  of  so  pliant  and  exquisite  a  raw  material  as 
silk  revolutionized  weaving  in  the  West  and  for  centuries  the 
production  of  Occidental  looms  steadily  increased  in  beauty  and 
variety,  the  supremacy  passing  from  nation  to  nation,  as  is 
outlined  in  Chapters  I  and  II,  where  the  process  of  weaving 
in  the  western  world  is  more  fully  treated. 

The  basis  of  all  weaving  consists  of  a  series  of  parallel 
threads,  the  warp,  through  which  a  second  series,  the  weft,  per- 
pendicular to  the  first,  is  interlaced,  the  result  being  either  a 
plain  expanse  of  a  single  hue,  or  else  an  arrangement  of  smaller 
fields  of  various  colors  forming  the  pattern.  The  warp  may  be 
upright  or  horizontal,  as  in  high-warp  and  low-warp  looms,  but 
there  is  little  difference  in  the  principle  of  the  technique  and  the 


INTRODUCTION 


XV 


stuffs  produced  on  the  two  do  not  vary  appreciably  in  texture. 
In  tapestry  weaving,  the  smaller  fields  of  color  are  greatly 
varied  and  the  threads  composing  them  seldom  pass  completely 
from  edge  to  edge  of  the  strip  of  material  under  construction, 
but  are  wound  on  bobbins  which  can  be  manipulated  so  as  to 
encircle  only  one  or  two  of  the  warp  threads  at  a  time,  as  the 
pattern  may  require.  Each  thread  is  furthermore  tied  and 
knotted  in  place.  Tapestry  technique  is  a  flexible  one  and  can 
be  easily  combined  with  plain  weaving,  as  in  the  Coptic  textiles 
and,  conjecturally,  the  Greek  and  Babylonian  already  referred 
to.  In  regular  textile  weaving,  however,  the  weft  is  wound  on 
a  shuttle  which  generally  passes  over  the  complete  width  of  the 
material,  although  only  a  portion  of  the  thread  may  show  on 
the  finished  surface.  It  is  by  combining  two  or  more  series  of 
warp  threads  with  a  number  of  varicolored  wefts  that  all  the 
shuttle-woven  fabrics  of  past  centuries  have  been  made,  and  the 
unending  varieties  of  composition  possible  to  such  a  technique 
have  proved  one  of  the  most  interesting  ways  yet  discovered  of 
exercising  man's  artistic  and  inventive  sense. 

From  primitive  times  until  the  mechanical  development  of 
the  nineteenth  century,  the  hand-loom — that  is,  one  manipulated 
wholly  by  the  workman  without  the  aid  of  steam  or  other  power 
— underwent  few  changes,  and  in  its  essential  workings  the 
variety  used  today  in  the  Carolinas  for  the  making  of  blue 
and  white  coverlets  differs  very  little  from  that  of  the  early 
Saracenic  or  Byzantine  craftsmen,  who  are  responsible  for  some 
of  the  most  perfect  pieces  of  weaving  yet  produced.  It  is  only 
in  the  large  manufacturies  where  the  hand-loom  has  been  super- 
seded by  the  elaborate  mechanical  contrivances  growing  out  of 
Jacquard's  remarkable  but  revolutionary  invention,  made  early 
in  the  last  century,  that  the  personal  touch  has  vanished  from 
weaving.  Hand-loom  work,  however,  has  never  wholly  died 
out  among  the  peasantry,  and  various  non-commercial  estab- 
lishments in  both  England  and  America  still  successfully  keep 
up  the  art,  while  some  of  the  most  modern  productions  of  the 
mechanical  looms  show  an  admirable  increase  in  artistic  quality, 


xvi 


INTRODUCTION 


due  to  a  growing  appreciation  of  texture  and  color  among 
designers,  manufacturers,  and  the  modistes  who  are  their  chief 
clients. 

The  varieties  of  textile  which  can  be  produced  are  numerous, 
and  no  two  authorities  seem  to  agree  as  to  the  precise  defini- 
tions of  even  the  best-known  kinds  of  weaving.  However, 
these  are  briefly  described  as  follows,  giving  the  sense  in  which 
the  terms  are  used  in  this  catalogue. 

Damask,  derived  from  Damascus,  whence  the  stuff  first 
came  into  Europe,  means  a  soft  material  of  a  satiny  texture,  of 
silk,  or  linen,  or  both,  patterned  in  self-color  of  a  different 
texture,  the  back  being  the  same  design,  reversed,  as  the  front. 

Lampas  is  damask  of  two  or  more  colors. 

Brocade  is  the  most  inclusive  term  of  all  and  is  applied  to 
elaborately  ornamented  stuffs  combining  various  colors  and  tex- 
tures. It  is  made  largely  of  silk  and  some  authorities  limit  the 
term  to  stuffs  interwoven  with  threads  of  gold  and  other  metals, 
although  that  limitation  is  not  observed  in  this  catalogue. 

Brocatelle  is  a  heavy  and  coarse  kind  of  brocade  with  less 
silk  in  its  composition,  the  ground  usually  being  of  linen,  the 
pattern  alone  of  silk,  or  vice  versa. 

Sarcenet  is  thin,  light  silk,  somewhat  like  soft  modern  taffeta, 
the  name  being  usually  applied  to  early  materials  of  fine  pattern. 

Velvet  is  woven  with  a  pile,  by  a  process  in  which  a  series 
of  looped  warp  threads  is  cut,  resulting  in  a  brush-like  surface  of 
various  lengths. 

Samite,  sendal,  and  other  interesting  words  were  used  by 
early  writers  in  referring  to  stuffs,  but  the  terms  are  not  now 
current,  and  were  never  very  definite  in  their  use,  so  far  as  is 
known. 


CATALOGUE 


I.    EARLY  WEAVES 


T 


HE  faded  fragments  of  loom-work  that  have  been  pre- 
served to  posterity  in  the  tombs  of  ancient  Egypt  are 
of  little  interest  to  the  casual  observer  who,  lured  by 


the  sumptuous  w^eaves  of  the  later  centuries,  may  be  inclined  to 
pass  them  by  unnoticed.  In  these  precious  bits,  however,  the 
Nile  country  has  bequeathed  to  us  a  living  record  of  the  weav- 
ing industry  as  it  existed  in  northern  Africa  centuries  prior  to 
the  arrival  of  Abraham  in  Egypt,  when  that  country  was  ruled 
by  the  kings  of  the  early  dynasties.  The  linen  mummy  wrap- 
pings from  Tarkhan  (No.  i. — 745-718  B.C.)  are  of  the 
same  texture  as  others  from  the  same  place,  dating  some  two 
thousand  years  earlier,  and  these  weaves  represent  the  product 
of  the  primitive  hand-looms  shown  in  the  wall-paintings  of 
Egyptian  artists. 

Such  other  fabrics  as  have  survived  the  ravages  of  time 
belong  to  a  much  later  period  and  are  usually  designated  as 
"Coptic";  that  is,  work  of  native  Egyptians  who  embraced 
Christianity.  This  term  has  been  universally  applied  to  all 
works  of  this  period,  despite  the  fact  that  many  patterns  are 
typically  pagan  in  character.  The  absence  of  adequate  records 
in  regard  to  their  provenance  renders  accurate  attribution  impos- 
sible ;  the  true  ''Coptic"  work,  however,  is  now  generally 
assumed  to  be  that  distinguished  by  Christian  motives  and 
rather  crude  bright  colors. 

The  various  types  of  primitive  weaves  here  exhibited  have 


I 


2 


SPECIAL  EXHIBITION  OF  TEXTILES 


therefore  been  grouped  under  four  heads,  the  first  three 
Egyptian — i.  "Coptic,"  Late  Classical,  I-III  Century;  2. 
''Coptic,"  Early  Christian,  Iir-VII  Century;  3.  Later  "Coptic" 
and  Byzantine,  VI-XIII  Century — the  fourth  Peruvian,  Pre- 
historic. In  these  groups  the  fabrics  are  of  three  distinct  charac- 
ters: tapestry,  embroidery,  and  weaving. 

The  first  group,  the  Late  Classical,  is  represented  by  an  ex- 
ceptionally rare  piece  of  tapestry,  a  Bacchic  scene,  from  Akh- 
mim,^  or  Panopolis  (No.  2),  produced  probably  about  the 
third  century,  w^hen  the  art  of  ancient  Egypt  had  practically 
disappeared  before  that  of  the  late  classical  school.  Most  of 
the  works  of  this  period,  in  tapestry  technique,  have  patterns 
in  monochrome,  usually  in  purple,  blue,  sometimes  brown  wool 
upon  warp  threads  of  natural  linen,  with  details  of  the 
pattern  accentuated  by  a  delicate  tracery  in  white  thread.  The 
weavers,  following  the  trend  of  fashion,  drew  their  inspiration 
from  Greek  mythology,  and  depicted  gods,  in  the  present  ex- 
ample Dionysos,  with  maenads  and  satyrs;  nymphs,  piping 
shepherds,  and  warriors  were  also  popular,  the  figures  usually 
in  the  nude  or  wearing  the  chlamys  floating  from  the  shoulders. 
Subjects  of  this  character  were  framed  in  borders  of  interlacing 
bands,  such  as  are  familiar  in  Roman  mosaic  pavements  of  the 
day. 

In  the  second  group,  the  Early  Christian,  which  represents 
the  period  marked  by  the  outbreak  of  the  Diocletian  persecution 
and  the  subsequent  rise  of  Christianity  under  Constantine,  a 
decided  change  appeared  in  the  character  of  the  patterns.  While 
pagan  themes  survived  for  a  time,  they  gradually  gave  way  to 
nimbed  saints  and  Christian  symbols.  The  striking  feature  of 
the  work  of  this  period,  however,  is  the  introduction  of  color. 

1  Work  from  Akhmim  shows  marked  Greek  influence;  like  Alex- 
andria, Antinoe,  and  many  other  Nile  cities  its  population  was  largely 
Greek,  and  Perseus,  to  whom  a  temple  was  erected,  supplanted  the 
native  divinity. 

As  stated  by  Meyer-Riefstahl,  Art  in  America,  vol.  3,  No.  6,  Non- 
nos,  the  greatest  Graeco-Egyptian  poet  of  the  fourth  century,  a  native 
of  Panopolis,  chose  Dionysos  as  the  theme  of  his  greatest  work  (cf. 
No.  2). 


EARLY  WEAVES  3 

While  the  earlier  patterns  of  interlacing  bands  in  monochronae, 
with  white  outline  on  blue  or  purple  fields,  remained  a  popular 
type  that  survived  well  into  the  Byzantine  period,  details  were 
accentuated  by  touches  of  red,  green,  or  yellow — a  trend  that 
marked  the  approach  of  an  oncoming  tide  of  color  which 
eventually  flooded  the  Occident  with  a  glow  of  Oriental 
splendor. 

In  the  fourth  century  the  adoption  of  the  tunic  as  a  popular 
garment  for  both  sexes  marked  an  era  in  the  art  of  ornamental 
fabrics  that  opened  a  lucrative  field  to  the  weaver;  shoulder 
bands  {clavi)  terminating  in  roundels,  and  the  four  medallions 
(orbiculi)  placed  above  the  hem  of  the  garment,  originally 
Roman  badges  of  rank,  degenerated  at  this  period  into  meaning- 
less ornaments  and  were  worn  by  all.  In  the  tunics  shown  in 
this  collection  the  ornaments  are  woven  into  the  fabric  of  the 
garment.  Often  they  are  inserts  which  have  doubtless  outworn 
their  original  fabric  and  been  reapplied  to  new  material.  Many 
specimens  of  the  collection  are  fragments  of  these  bands,  indi- 
vidual medallions  showing  a  variety  of  interlaced  band-patterns, 
followed  by  those  of  the  transition  period  with  crudely  drawn 
figures^  and  animal  forms,  alternating  with  baskets  of  fruit, 
which  in  turn  were  followed  by  the  nimbed  saints. 

In  the  fifth  century,  with  Egypt  as  a  province  of  the  Byzan- 
tine Empire,  there"  developed  an  increased  demand  for  luxury ; 
hangings"  with  bold  designs  in  richly  colored  tapestry  were 
produced  at  the  different  weaving  centers,  and  are  represented 
by  Nos.  20-2I,  while  No.  17  shows  a  different  style  in  tufted 
wool.  In  works  of  this  period,  when  paganism  was  proscribed, 
designs  are  characterized  by  distinctly  Christian  motives  (Nos. 
21,  30). 

1  The  gauche  figures  that  appear  in  many  of  these  fragments  in- 
dicate that  inasmuch  as  the  tunic  was  not  a  garment  confined  to  the 
higher  ranks,  much  of  this  was  doubtless  the  work  of  untrained  hands 
in  the  home  and  not  the  product  of  a  commercial  center,  a  type  that 
finds  its  parallel  in  the  elaborately  embroidered  blouses  worn  by  the 
peasants  of  the  Balkan  States. 

2  Hangings  such  as  these  are  preserved  in  the  Victoria  and  Albert 
Museum  and  also  in  the  Lyons  Museum. 


4  SPECIAL  EXHIBITION  OF  TEXTILES 

In  the  third  group,  the  Later  ''Coptic"  and  Byzantine  period, 
we  find  tunics  trimmed  with  polychrome  medallions  of  tapestry 
and  broad  bands  of  woolen  weaves  (Nos.  27-28)  quite  different 
in  design  from  the  tapestry.  It  is  interesting  to  note  the  marked 
similarity  of  pattern  between  these  works  from  Akhmim  and 
Antinoe  and  the  pictured  fabrics  found  in  the  archaic  Greek 
vase-painting  of  the  fifth  century  B.  C,  where  the  figures 
are  clothed  in  sack-like  garments  covered  with  a  surface  orna- 
ment of  rhombic  outline.  Although  this  may  be  accounted  for 
on  technical  grounds,  the  motive  is  nevertheless  distinctively 
Greek  in  character.  This  type  of  design  appears  also  in  tapestry 
and  in  the  silk  weaves  that  were  now  beginning  to  appear. 

While  silk  had  long  been  used  by  the  nobles  of  the  Roman 
Empire,^  it  was  not  until  the  sixth  century  that  sericulture 
became  established  through  the  able  administration  of  Justinian, 
who  systematized  the  industry  in  the  West.  The  looms  of 
Byzantium,  no  longer  dependent  upon  the  importation  of  the 
raw  material  from  China,  found  themselves  in  a  position  to 
furnish  the  sumptuous  fabrics  demanded  by  the  luxurious  court 
of  the  Empire,  and  in  these  fragmentary  bits  from  Akhmim  we 
may  see  the  prototypes  of  the  splendid  weaves  of  the  later 
centuries. 

The  roundel  type  of  pattern,  characteristic  of  Byzantine  and 
Alexandrian-  fabrics,  is  represented  by  two  rare  medallions,  Nos. 
51,  52,  from  Egyptian  tombs:  in  both  of  these  the  Persian  in- 
fluence^ is  dominant ;  in  one  a  mounted  horseman,  of  the  Asiatic 
type  found  in  Greek  vase-painting^;  in  the  other  the  Sassanian 

^Tacitus  records  an  order  of  the  Roman  Senate  in  the  year  16  A.  D. 
prohibiting  the  use  of  silk  robes  by  men  in  Rome ;  and  in  409  A.D. 
when  Italy  was  invaded  by  the  Goths  under  Alaric,  the  ransom  de- 
manded for  the  protection  of  the  Eternal  City  included  4,000  silk 
tunics. 

2  The  Alexandrian  industry  has  been  interestingly  treated  by  Von 
Falke  (vol.  i),  and  by  Meyer-Riefstahl  in  Art  in  America  (vol.  3, 
Nos.  5,  6). 

3  It  will  be  remembered  that  Chosroes,  the  Sassanian  ruler,  whose 
regime  marked  a  highly  developed  art  interest  in  Persia,  conquered 
Alexandria  in  the  year  616  A.D. 

4  cf .  Von  Falke,  vol.  i,  Nos.  7  and  8. 


EARLY  WEAVES  5 

bird  form,  typically  Persian,  bearing  on  its  breast  the  crescent 
of  the  Orient,  while  in  its  beak  it  carries  the  necklace  with  three 
pendent  jewels,  the  emblem  of  the  Sassanian  queen.  The  war- 
ring horsemen  of  the  roundel  type  of  silk  weave  were  also 
worked  in  tapestry,  as  is  shown  in  No.  31.  Of  exceeding  in- 
terest in  this  connection  is  a  rare  medallion.  No.  53,  of  corre- 
sponding design  done  in  needlework.^ 

With  the  decline  of  the  Roman  Empire,  mediaeval  Egypt  of 
the  seventh  century  fell  under  the  dominion  of  the  Saracenic 
invaders;  and  while  the  Byzantine  influences  lingered,  the  Arab 
conquest  marked  its  imprint  in  the  stylistic  changes  that  gradu- 
ally appeared  in  the  patterned  fabrics.  The  Arabs,  who 
were  scarcely  other  than  rude  Bedouin  tribes  of  the  desert, 
adopted  the  art  of  the  lands  of  their  conquest  and  developed  it 
by  native  talent.  Arabic  art  in  northern  Africa,  however,  owes 
its  inspiration  rather  to  the  Syrian  elem.ent  of  the  population 
than  to  the  Arabic;  for  prior  to  the  Arab  invasion  (about  644) 
hordes  of  Syrians,  fleeing  before  the  conquering  Heraclius 
(about  616),  had  already  crossed  the  borders  and  settled  in 
northern  Africa,  and  it  was  these  artisans  who  with  the  Copts 
evolved  a  style  that  was  the  forerunner  of  the  Hispano- 
Moresque.-  Thus,  with  the  practical  withdrawal  of  Byzantine 
influence,  the  roundel  type  of  pattern,  shown  in  its  Egyptian 
form  in  the  tapestry  medallions  of  the  fifth  and  sixth  centuries 
and  later  in  the  rare  Byzantine  silk  of  the  eleventh  century 
(No.  55)  lent  by  the  Cooper  Institute  Museum,  in  time  gave 
way  to  striped  effects  represented  by  the  exquisite  Egypto- 
Arabic  silk  and  linen  weave  of  highly  developed  technique,  a 
style  that  marks  the  transition  to  the  mediaeval  types  illustrated 
in  the  textile  fabrics  of  the  Middle  Ages. 

1  While  fine  needles  of  this  period  no  longer  exist,  the  use  of  the 
needle  is  proved  by  excavations  dating  from  the  Predynastic  Period 
(3400  B.C.)  ;  coarse  specimens  of  the  XX  Dynasty  (1200-1090  B.C.), 
excavated  at  Lisht,  may  be  seen  in  the  Egyptian  collection. 

~  cf.  window  photographs  of  the  Syrian  church  of  El-Adra  in  the 
Fourteenth  Egyptian  Room  (D.  5). 


6  SPECIAL  EXHIBITION  OF  TEXTILES 

The  fourth  group,  Peruvian,  is  illustrated  by  a  rare  fabric 
lent  by  the  American  Museum  of  Natural  History. 

The  similarity  between  the  "Coptic"  work  and  that  of  the 
Peruvians  (cf.  60)^  has  been  referred  to  by  Strzygowski,  who 
claims  to  have  discovered  in  a  "Coptic"  fragment  of  the  Kaiser 
Friedrich  Museum  a  character  common  in  Chinese  and  Peruvian 
art.  However  this  may  be,  primitive  designers  in  remote  locali- 
ties, working  along  the  same  line  and  controlled  by  the  same 
technicalities,  might  readily  arrive  at  similar  patterns.  As  has 
been  pointed  out  by  Chamberlain,^  creative  power  is  not  confined 
to  any  one  locality,  but  seems  to  flood  the  world  at  certain  times 
in  great  tidal  waves,  as  for  instance  in  the  sixteenth  century, 
when  Miyochin,  Japan's  greatest  artist  in  metal,  was  working 
at  the  same  time  with  Benvenuto  Cellini  in  Florence  and  Rome. 
The  technique  of  the  Peruvian  work  in  many  of  the  specimens 
is  tapestry,  although  a  variety  of  weaves  have  been  found. 
Crawford,^  in  writing  on  the  technical  side  of  this  interesting 
subject,  states  that  while  "our  debt  to  Asia  for  textile  knowl- 
edge is  too  obvious  to  be  disputed,  the  very  philology  of  our 
industry  forbids,"  it  is  marvelous  that  each  problem  of  weaving 
technique  had  been  worked  out  by  the  natives  of  Pachacamac 
centuries  before  the  first  white  man  set  foot  on  the  shores  of 
Peru.  The  only  date  ascribed  to  these  fabrics  by  the  authorities 
is  "pre-Inca,"  that  is,  prehistoric. 

I    MUMMY  CLOTH,   EGYPTIAN,   FROM  TAR- 
khan.    xxiii  dynasty,  745-7 1 8  b.c. 
Purchase,  Rogers  Fund,  1914. 

Three  fragments  of  plain  mummy  cloth.  Other  remark- 
ably fine  weaves  from  Tarkhan,  dating  from  the  I-V  Dy- 
nasties, may  be  seen  in  the  First  Egyptian  Room  (D.  3). 

14.4.92,93,101  6x8j^  in. 

1  Jahrbuch  der  preuss.  Kunstsammlungen  1903,  p.  177. 

2  Houston  Stewart  Chamberlain.  The  Foundations  of  the  Nine- 
teenth Century,  vol.  I,  p.  xliii,  N.  Y.  MCMXII. 

3  M.  D.  C.  Crawford.  Anthropological  Papers  of  the  American 
Museum  of  Natural  History,  vol.  XH,  part  HI,  Peruvian  Textiles. 


EARLY  WEAVES  "cOPTIc" 


7 


"COPTIC,"  LATE  CLASSICAL 
I-III   CENTURY  A.  D. 

2    TAPESTRY,  "COPTIC"  (AKHMIM).  iii  century. 
Gift  of  George  F.  Baker,  1890. 
Panel  from  Akhmim,  woven  in  two  shades  of  brown. 
Bacchanalian  scene:  Dionysos  supported  by  leopards;  on 
either  side  a  maenad  and  a  satyr;  in  the  lower  corners 
dolphins. 

An  unusual  piece  of  exceptional  interest.  The  purely 
pagan  theme,  while  Greek  in  character,  shows  marked 
Roman  influence  in  the  abandon  of  the  dancers.  Roman 
terracottas  and  glass  of  the  period  show  many  figures  of 
this  type.  A  similar  piece  is  preserved  in  the  Cooper  In- 
stitute Museum. 

cf.  Meyer-Riefstahl  in  Art  in  America,  vol.  3,  Nos. 
5,  6.  9  X  isYz  in. 

"COPTIC,"  EARLY  CHRISTIAN 

III-VII  CENTURY 

3,  4   TAPESTRY,  "COPTIC."   iii-v  century. 
Purchase,  Rogers  Fund,  1909. 

Two  medallions  worked  in  dark  blue  and  purple  with  a 
design  of  interlacing  bands  in  delicate  white  tracing.  From 
the  Fischbach  Collection. 

Medallions  and  bands  of  this  monochrome  ornament, 
while  characteristic  of  the  Early  Roman  Period,  survived 
for  several  centuries  after  the  introduction  of  the  poly- 
chrome work  that  developed  under  the  influence  of  the  silk 
weavers  of  Alexandria. 

09.50.1460,1463  13  X  13  in. 

5    TAPESTRY,  "COPTIC."   iii-v  century. 

Gift  of  George  F.  Baker,  1890. 

A  square  woven  in  dark  blue  and  natural  linen  with  a 
peculiar  technique,  producing  in  the  field  a  tracery  of 
fine,  alternate  threads  of  blue  and  white.  The  pattern, 
woven  in  blue,  has  a  central  medallion  with  nymphs 
(Aphrodite?)  flanked  by  horsemen  wearing  the  pointed 
Phrygian  cap ;  above  and  below,  other  figures. 

5x6  in. 


8 


SPECIAL  EXHIBITION  OF  TEXTILES 


6  TAPESTRY,  "COPTIC."   iii-v  century. 

Purchase,  Rogers  Fund,  1909. 

A  square  woven  in  brown  and  natural  linen ;  same  tech- 
nique as  No.  5.  The  design  is  composed  of  five  circles 
within  the  square;  in  the  central  medallion  a  horseman 
wearing  the  floating  scarf  or  chlamys;  in  the  corners, 
figures  bearing  trophies  of  the  chase.  From  the  Fischbach 
Collection. 

09.50.1769  X5M  in. 

7  TAPESTRY,  "COPTIC."    iii-iv  century. 

Gift  of  George  F.  Baker,  1890. 

A  square  worked  in  red  on  linen  warp.  The  design  is 
composed  of  a  central  figure  standing  on  a  ground  seme 
with  small  animals.  In  alternate  corners  appear  sprays  of 
lotus  leaves  and  smaller  standing  figures.  Parts  of  the 
pattern  are  accentuated  by  outline  embroidery. 

An  exceptionally  interesting  piece.  While  the  prove- 
nance of  this  piece  is  attributed  to  Akhmim,  the  design  has 
marked  characteristics  of  the  workshops  of  Antinoe,  where 
the  weavers  adopted  Persian  motives  in  their  patterns. 
The  heart-shaped  device  of  the  border  is  also  typical  of 
Antinoe. 

6>4  X  7  in. 

8  TAPESTRY,  "COPTIC."    iv-v  century. 

Gift  of  George  F.  Baker,  1890. 

A  square  woven  in  deep  violet  and  linen  thread,  with 
a  design  of  five  circles  framing  a  centaur  and  four  beasts 
that  resemble  a  combined  Chinese  dragon  and  Persian  hip- 
pocamp.  Baskets  of  fruit  in  the  intervening  spaces. 
This  piece  illustrates  the  transition  from  the  monochrome 
of  the  late  classical  to  the  polychrome  type  of  the  early 
Christian, 

II  X  14  in. 

9  TAPESTRY,  "COPTIC."    iv-v  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  border.  Two  dainty  figures  and  an  animal 
woven  in  deep  violet  and  linen  thread  with  touches  of 
color. 

9x16  in. 


EARLY  WEAVES  ''cOPTIc"  9 

10  TAPESTRY,  "COPTIC."   iv-v  century. 

Gift  of  George  F.  Baker,  1890. 

A  square  worked  in  deep  violet  and  linen  thread  with 
touches  of  color.  Two  standing  figures  wearing  the 
chlamys;  one  bears  a  shield.    Late  Roman  work. 

8x8  in. 

11  TAPESTRY,  "COPTIC."   iv-v  century. 

Gift  of  George  F.  Baker,  1890. 

Similar  to  No.  10.  Two  figures  standing  between 
columns  that  support  pointed  spandrels. 

The  neck  trimming  of  a  tunic  illustrated  by  Von  Falke, 
vol.  I,  p.  144,  and  dated  seventh  century,  shows  a  row  of 
four  figures  standing  beneath  similar  arches. 

12  X  13/2  in. 

12  TAPESTRY,  "COPTIC."   iv-v  century. 

Purchase,  Rogers  Fund,  1909. 

A  square  woven  in  purple  and  natural  linen  with  touches 
of  yellow.  A  central  medallion  with  horseman.  Centaurs 
and  beasts  in  the  field.  Badly  worn.  From  the  Fischbach 
Collection. 

09.50.1806  634  X  8  in. 

13  TAPESTRY,  "COPTIC."   iv-v  century. 

Purchase,  Rogers  Fund,  1909. 

Border.  Similar  to  No.  12.  Figures  and  animals.  From 
the  Fischbach  Collection. 

09.50.181 1  25^  X  10  in. 

14  TAPESTRY,  "COPTIC."   iv-v  century. 

Gift  of  George  F.  Baker,  1890. 

A  square  from  Akhmim  with  a  design  of  figures,  ani- 
mals, birds,  fish,  and  flowers,  w^orked  in  green,  red,  yellow, 
and  indigo  on  linen  ground. 

6  X  in. 

15  TAPESTRY,  "COPTIC"   iv-v  century. 

Purchase,  Rogers  Fund,  1909. 

Border  woven  with  deep  purple  and  natural  linen  thread 
in  a  graceful  scroll  pattern  inclosing  exquisitely  drawn  ani- 
mal motives.    From  the  Fischbach  Collection. 


10  SPECIAL  EXHIBITION  OF  TEXTILES 

cf.  Forrer.  Romische  und  byzantinische  Seiden-Tex- 
tilien,  pi.  I. 

09.50.1807  3  X  8^  in. 

16  TAPESTRY,  "COPTIC."   iv-v  century. 

Purchase,  Rogers  Fund,  1909. 

An  exquisite  fragment  of  beautiful  technique,  woven  in 
purple  and  linen  with  floral  devices  in  green,  red,  and  yel- 
low. In  the  center  a  charming  animal  motive.  The  design 
of  interlacing  bands,  forming  corner  circles,  suggests  the 
mosaics  in  the  palace  of  Theodoric  at  Ravenna  (Von 
Falke,  vol.  I,  p.  18).  The  square  is  bordered  with  a  band 
of  scrollwork  embroidered  in  fine  white  tracery.  From 
the  Fischbach  Collection. 

09.50.1399  6>4  xgji  in. 

17  LINEN  WEAVE,  "COPTIC."   v  century. 

Purchase,  Rogers  Fund,  1909. 

Fragm.ent  of  hanging.  Linen  weave  worked  in  linen 
and  wool  loop  technique.    From  the  Fischbach  Collection. 

A  variant  of  this  technique,  probably  an  inheritance  from 
the  Moorish  weavers  who  settled  in  Spain,  appears  in  the 
Gothic  velvets  of  the  fifteenth  century. 

09.50.2683  19  X  273^  in. 

18  TAPESTRY,  "COPTIC."  v  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  a  large  hanging  from  Akhmim.  A  bird, 
with  head  turned  back,  perched  upon  a  spray  of  leaves.  A 
similar  piece  is  illustrated  by  Forrer,  Graeber-und  Textil- 
funde,  pi.  XI,  fig.  7. 

19  X  24  in. 

19  TAPESTRY,  "COPTIC."  v  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  interlacing  bands,  similar  to  No.  18. 

6x23>^  in. 

20  TAPESTRY,  "COPTIC."  v  century. 

Gift  of  George  F.  Baker,  1890. 
Fragment  of  linen  hanging  with  tapestry  inserts.  At 
the  top  a  row  of  medallions  with  nimbed  heads  in  poly- 


20     TAPESTRY,  "COPTIc" 
V  CENTURY 


EARLY  WEAVES  ''cOPTIc" 


II 


chrome.  Below,  a  broad  border  with  horsemen  and  dogs 
in  an  arcaded  framing,  worked  in  black.  The  field  of  the 
curtain  has  scattered  motives  of  fruit  baskets,  birds,  and 
heads  in  medallions,  in  color.  A  silk  weave  from  Alex- 
andria, of  similar  pattern,  showing  Samson  and  the  Lion, 
preserved  in  the  Victoria  and  Albert  Museum,  is  dated 
sixth  to  seventh  century  A.D. 

cf.  Lessing,  pi.  No.  7;  Von  Falke,  vol.  I,  pi.  71,  p.  54; 
Cox,  "Lyons,"  pi.  VL 

24>^  X  39  in. 

21  LINEN  WEAVE,  "COPTIC."   v  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  hanging  in  linen  with  pattern  woven  in 
tufted  wool-work.  The  design  has  a  central  medallion 
with  a  cross  supported  by  two  peacocks,  the  emblem  of  im- 
mortality. 

This  type  of  design,  a  variant  of  the  horn  motive — 
found  in  Assyrian  sculpture  placed  between  two  lions — 
appears  in  the  wall-paintings  of  the  catacombs  (cf.  Giu- 
seppe Wilpert,  pi.  50),  in  the  mosaics  and  textile  fabrics 
of  the  Middle  Ages,  and  later  in  the  art  of  the  Renaissance. 

39x49  in. 

22  TAPESTRY,  "COPTIC."  v  century. 

Purchase,  Rogers  Fund,  19 12. 

Linen  hanging  with  tapestry  inserts,  woven  in  bright 
reds,  blue,  green,  and  yellow.  At  the  top,  a  leaf  border 
above  two  angels  bearing  a  dish  of  fruit.  On  the  field, 
small  scattered  motives. 

12.182.45  45  X  56  in. 

23  TAPESTRY,  "COPTIC."  v  century. 

Gift  of  Maurice  Nahman,  1912. 
Shawl  woven  in  wool  with  two  borders  of  grotesque  ani- 
mals and  four  sm.all  medallions  in  red  brown. 

12. 185. 1  37  X  102  in. 

24  WOOLEN  WEAVE,  "COPTIC"  (AKHMIM).  iii- 
vii  century. 

Gift  of  George  F.  Baker,  1890. 

Four  fragments  with  geometric  patterns  in  monochrome. 

Bands  of  this  weave  were  used  in  ornamenting  wearing 


12 


SPECIAL  EXHIBITION  OF  TEXTILES 


apparel  (cf.  Nos.  27-28).  The  lozenge  pattern  fram- 
ing a  small  central  device,  found  in  the  tapestry,  wool,  and 
silk  weaves  of  Egypt,  is  similar  to  that  found  in  the 
archaic  period  of  Greek  vase-painting  where  the  same  type 
of  design,  doubtless  borrowed  from  the  East,  appears  in 
the  costumed  figures. 

Largest,  7^  x  9  in.. 

25  LINEN  WEAVE,  "COPTIC."   iii-vii  century. 

Gift  of  George  F.  Baker,  1890. 
Linen  fragments  with  a  lozenge  pattern  outlined  in 
green  wool  embroidery  (?). 

8:^x175^  in.. 
16  X  16%  if^- 

LATER  ''COPTIC"  AND  BYZANTINE 

VI-XIII  CENTURY 

26  TAPESTRY,  ''COPTIC."  vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Five  fragments  woven  with  a  lozenge  pattern  in  tan 

on  a  red  rose  ground. 

Largest,  7^  x  8^  in. 

27  TAPESTRY  TUNIC,  "COPTIC."    vi-vii  century. 

Gift  of  Maurice  Nahman,  1912. 

Tapestry  worked  in  wool,  complete  with  clavi  and 
orbiculi.  The  garment  is  finished  with  a  border  of  woolen 
weave  showing  the  lozenge  pattern,  characteristic  of  the 
weaves  of  Antinoe. 

With  the  advent  of  the  Roman  government,  the 
Egyptian  form  of  burial  was  abandoned ;  the  body,  no 
longer  swathed  in  mummy  wrappings,  was  clothed  in 
ordinary  garments  of  the  living.  Roman  tunics  came  into 
popular  use  about  the  fourth  century,  the  earlier  form  hav- 
ing shorter  sleeves  than  the  later.  The  decorative  shoulder 
bands  {clavi)  and  the  medallions  {orbiculi)  near  the  hem, 
are  distinctively  Roman.  There  is  no  trace  of  this  form  of 
ornament  found  in  Greek  dress  of  the  period.  An  early 
dated  example  of  the  tunic  (388  A.  D.)  is  shown  in  a 
silver  shield  of  the  Emperor  Theodosius,  preserved  at 
Madrid. 

1 2. 1 85.2  Length,  45  in.. 


EARLY  WEAVES  LATER  ''cOPTIc"  AND  BYZANTINE  I3 

28  TAPESTRY  TUNIC,  "COPTIC."    vi-vii  century. 

Gift  of  Maurice  Nahman,  1912. 

Tapestry  woven  in  wool.    Similar  to  No.  27. 

12. 185.3  Length,  45  in. 

29  TAPESTRY,  ''COPTIC."   vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  child's  tunic  woven  in  rose  red  wool  with 
clavi  of  tapestry  in  polychrome. 

121/2  X  23  in. 

.30    TAPESTRY,  "COPTIC."    vi-vii  century. 
Gift  of  George  F.  Baker,  1890. 

Two  fragments  of  medallions  showing  nimbed  saints  on 
horseback  with  attendant  angels,  on  red  ground. 

This  type  of  work  shows  the  marked  influence  of  the 
silk  weaves  produced  at  Alexandria  in  the  sixth  and 
seventh  centuries  A.D. 

Diameters,  9  and  11^  in. 

31    TAPESTRY,  "COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Medallion  fragment  similar  to  No.  30,  showing  two 
horsemen. 

Diameter,  7  in. 

.32    TAPESTRY,  "COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Medallion.  Red  ground  with  design  worked  in  poly- 
chrome— a  nimbed  saint  in  the  center  surrounded  by  four 
beasts,  showing  marked  Byzantine  influence. 

85^  X  10  in. 

33    TAPESTRY,  "COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Circular  medallion.  Red  ground  with  small  figure  in 
center  on  a  field  covered  with  lozenge  pattern  worked  in 
polychrome. 

9x11  in. 


14 


SPECIAL  EXHIBITION  OF  TEXTILES 


34  TAPESTRY,  '^COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  medallion.  Red  ground  with  confused 
figures  in  polychrome.  Strzygowski,  in  the  Jahrbuch  der 
preuss.  Kunstsammlungen  1903,  p.  177,  compares  this  type 
of  Coptic  work  with  the  prehistoric  Peruvian  art, 

8x10  in. 

35  TAPESTRY,  "COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Four  fragments  of  ornamental  bands  in  rich  coloring, 
with  nimbed  saints  in  medallions,  figures  and  animals  in 
bands.    Sleeve  ornaments  from  tunics. 

Length,  10  in. 

36  TAPESTRY,  "COPTIC."    vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 
Five  fragments  of  bands  similar  to  No.  35.    In  one,  a 
row  of  four  figures  possibly  representing  the  four  apostles. 

Longest,  21  in. 

37  LINEN  WEAVE,  "COPTIC."  vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Five  fragments  woven  in  red,  white,  black,  and  green. 
Scenes  from  the  Nativity.  An  Alexandrian  silk  weave  in 
the  Vatican  is  dated  by  Von  Falke  as  belonging  to  the  first 
half  of  the  sixth  century,  cf.  Von  Falke,  Nos.  53  and  68. 
A  similar  weave  illustrating  the  story  of  Joseph  and  his 
brethren  is  preserved  at  Sens. 

X  4  in. 

38  LINEN  WEAVE,  "COPTIC."  vi-vii  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  border;  red  ground  with  cross  between 
two  birds,  a  Christian  symbol,  woven  in  linen  color  and 
black. 

2>^x3>^  in. 

39  SILK  WEAVE,   "COPTIC"    (AKHMIM).  vi-vii 
centljry. 

Purchase,  Rogers  Fund,  1907. 

Medallion  from  a  clavus  or  sleeve  ornament.  Brownish 


EARLY  WEAVES  LATER  ''cOPTIc"  AND  BYZANTINE        I  5 

green  with  design  of  palmette  scrolls  and  heart  forms  in 
cream  color. 

A  clavus  of  this  design,  illustrated  by  Lessing,  bears  the 
signature  of  the  Zacharias  workshop.    111.  Lessing,  vol. 


40    SILK  WEAVE,   "COPTIC"    (AKHMIM).  vi-vii 


41    SILK  WEAVE,   "COPTIC"    (AKHMIM).  vi-vii 


CENTURY. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  medallion  with  a  variant  of  the  tree-of- 
life  motive  woven  in  cream  color  on  greenish  brown. 
Similar  to  preceding. 
111.  Lessing,  vol.  i,  pi.  3,  No.  i. 

90.5.4  4x5  in. 


42    SILK  WEAVE,   "COPTIC"    (AKHMIM).  vi-vii 


CENTURY. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  clavus  with  design  in  tan  on  a  red  brown 
ground.  The  pattern  is  divided  into  two  narrow  panels; 
the  upper  panel  containing  a  warrior  and  a  beast,  the 
lower  a  plant  form  supported  by  two  birds  affrontes. 
This  is  one  of  the  earliest  examples  of  a  silk  weave  show- 
ing this  bird  motive. 

A  similar  band  at  Crefeld.    111.  Von  Falke,  No.  63. 


2  X  io>^  in. 

43    SILK  WEAVE,  "COPTIC"  (AKHMIM  ?).  vi-vii 


century. 

Purchase,  Rogers  Fund,  1909. 

Fragment  of  clavus  in  brown  on  tan  with  portrait 
medallion  and  conventionalized  floral  border. 


I,  pi.  3,  No.  2. 
07.243.1 


6x8  in. 


CENTURY. 

Purchase,  Rogers  Fund,  1907. 
Medallion  similar  to  preceding. 
111.  Von  Falke,  No.  59. 
07.243.2 


8x8><  in. 


09.225.5 


5x8>^  in. 


1 6  SPECIAL  EXHIBITION  OF  TEXTILES 

44  SILK  WEAVE,   ^'COPTIC"    (AKHMIM).  vi-vii 

CENTURY. 

Purchase,  Rogers  Fund,  1915. 

Red  ground  with  rhomboid  pattern  inclosing  central 
medallions  with  bird  forms.  111.  Von  Falke,  No.  66; 
Fischbach,  pi.  4,  No.  i ;  Forrer,  Rom.  u.  byz.  Seid.,  pi. 
VIII,  No.  5. 

15.109  6x6  in. 

45  SILK  WEAVE,   "COPTIC"    (AKHMIM).  vi-vii 

CENTURY. 

Gift  of  George  F.  Baker,  1890. 

Red  ground  with  rhomboid  pattern  in  yellow  fram- 
ing central  heart  form. 

cf.    Forrer,  Rom.  u.  byz.  Seid.,  pi.  X,  No.  i. 

90.5.5  4/^  x8>^  in. 

46  SILK  WEAVE,  "COPTIC"   (AKHMIM).  vi-viii 

CENTURY. 

Purchase,  Rogers  Fund,  1907. 

Tan  ground  with  design  of  set  geometric  figures  and 
angular  arabesques  in  black  outline. 

111.  Lessing,  vol.  i,  pi.  5,  No.  2;  Forrer,  Rom.  u.  byz. 
Seid.,  pi.  VIII,  No.  6. 

07.243.6  X  7>^  in. 

47  SILK  WEAVE,  ''COPTIC."  vi-viii  century. 

Purchase,  Rogers  Fund,  1909. 

Tan  ground  with  pattern  of  small  medallions  in  green, 
inclosing  animal  forms  and  the  eight-pointed  star  motive. 
09.225.6  5x7  in. 

48  SILK  WEAVE,  "COPTIC"  (ANTINOE).  vi-viii 
century. 

Purchase,  Rogers  Fund,  1907. 

Two  fragments  of  blue  and  white  silk  with  medallion 
pattern,    cf.  Von  Falke,  No.  37. 

I  x  6  in.,  I  X  S}i  in. 


55      SILK  WEAVE,  BYZANTINE 
XI  CENTURY 

Lent  by  the  Museum  for  the  Arts  of  Decoration  at  Cooper 

Union 


55      SILK  WEAVE,  BYZANTINE 
XI  CENTURY 

Lent  by  the  Museum  for  the  Arts  of  Decoration  at  Cooper 

Union 


EARLY  WEAVES  LATER  ''cOPTIc"  AND  BYZANTINE        I  7 

49  SILK  WEAVE,  "COPTIC."    vi-viii  century. 

Gift  of  George  F.  Baker^  1890. 

Green  ground  with  pattern  of  zigzag  lines  in  ecru. 

i}i  X  I2>^  in. 

50  SILK  WEAVE,  EGYPTO-ARABIC.    x-xi  century. 

Gift  of  George  F.  Baker^  1890. 
Striped  fabric  in  dull  pink. 

sVz  xjYz  in. 

51  SILK  WEAVE,  EGYPTIAN,  ALEXANDRIAN ( ?). 
vi-viii  century. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  medallion  woven  in  red  and  tan.  A 
serpentine  vine  border  framing  a  mounted  horseman  spear- 
ing a  beast.  The  pose  of  the  horse  and  rider  is  that  shown 
in  gems  of  the  fourth  century  (cf.  Von  Falke,  No.  79), 
The  horseman  wTars  the  long  trousers  and  the  floating 
shoulder  scarf,    cf.  also  Von  Falke,  No.  8. 

5>4  X  6  in. 

52  SILK  WEAVE,  EGYPTO-PERSIAN.    vi-viii  cen- 
tury. 

Gift  of  George  F.  Baker,  1890. 

Fragment  of  medallion  woven  in  blue  and  dull  pink. 
Roundel  pattern  framing  a  standing  bird,  bearing  on  its 
breast  the  crescent  and  in  its  beak  a  jeweled  necklace,  an 
emblem  of  Sassanian  royalty. 

cf.    Lessing,  vol.  i,  pi.  22,  i ;  Von  Falke,  Nos.  100- loi. 

5^  X  8  in. 

53  EMBROIDERY,  "COPTIC"  (AKHMIM).  vi-viii 

CENTURY. 

Gift  of  George  F.  Baker,  1890. 

Medallion  with  two  mounted  warriors  clad  in  armor 
and  carrying  shields  and  lances.  In  the  foreground  an 
animal  form.  The  whole  bordered  with  a  band  of  lotus 
ornament.  The  design  is  worked  in  neutral  tints,  with 
details  accentuated  in  black.  The  work  is  done  in  the 
long  and  short  stitch. 

cf.    Forrer,  Rom.  u.  byz.  Seid.,  pi.  XV,  No.  6. 

7x8  in. 


i8 


SPECIAL  EXHIBITION  OF  TEXTILES 


54    TAPESTRY,  EGYPTO-ARABIC.   x-xi  century. 
Purchase,  Rogers  Fund,  1911. 

Silk  and  linen  weave  of  parallel  bands  of  ornament  in 
highly  developed  technique.  Animal  forms  in  medallions 
woven  in  red,  blue,  and  yellow. 

II. 138. 1  18x21  in. 


55  SILK  WEAVE,  BYZANTINE,   xi  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 

Roundel  pattern  with  elephants,  griffins,  and  hippo- 
camps  woven  in  black  and  outlined  with  blue,  on  a  red 
ground.  Exhibited  in  the  Paterson  Historical  Exhibition 
of  Textiles,  191 5.  A  rare  example  of  mediaeval  work  in- 
spired by  earlier  Sassanian  models.  The  hippocamp  as  a 
motive  in  textile  art  is  recorded  in  the  rock  sculpture  of 
Takibostan  (about  600),  where  it  appears  in  the  costume 
of  the  Sassanian  ruler  Chosroes  II.  A  fabric  of  the  sixth 
to  seventh  century  found  in  a  Greek  or  Roman  cemetery 
in  Upper  Egypt  and  preserved  in  the  Victoria  and  Albert 
Museum,  also  shows  this  pattern  (cf.  Cole,  fig.  3),  and 
there  is  a  similar  piece  from  the  tomb  of  St.  Sivard,  pre- 
served in  the  Cathedral  at  Sens.  The  elephant  and  pegasus 
figures  appear  in  fragments  preserved  at  Berlin  and  in  the 
Bargello,  Florence. 

111.  Badia  Coll.,  pi.  XVI,  No.  49;  Von  Falke,  No. 
237 ;  Lessing,  pi.  61. 

12^  x  20  in. 

56  BROCADE,  SYRO-EGYPTIAN.    xiii  century. 

Purchase,  Rogers  Fund,  1908. 

Fragment  of  buff  brocade  with  a  design  of  peacocks  in 
pointed  oval  fields  framed  by  bands  of  latticework  with 
small  medallions  inclosing  animal  forrns. 

08.109.1-a  8  X  1 1  in. 

57  BROCADE,  SYRO-EGYPTIAN.   about  1300. 

Purchase,  Rogers  Fund,  1908. 

Buff  and  green  with  serpentine  bands  of  meander  pat- 
tern forming  pointed  oval  fields  charged  with  adorsed 
parrots  and  griffins.    The  zigzag  device  in  the  bands  of 


o 
o 


H 
O 

< 


< 
J*' 

a 
w 

c 

in 


< 


in 


EARLY  WEAVES  PERUVIAN  1 9 

this  pattern  appears  not  only  in  Asiatic  characters  of  Greek 
vase-painting,  but  as  well  in  Egyptian  wall-painting.  The 
stylistic  tree  form  between  two  animal  forms  is  a  variant 
of  the  horn  or  tree-of-life  symbol.  Another  piece  of  this 
fabric  is  preserved  in  the  Cluny  Museum.  111.  Von  Falke, 
No.  362. 

08.109.1-b  10  X  16  in. 

PERUVIAN 

PREHISTORIC 

58  EMBROIDERED  TAPESTRY,  PERUVIAN,  pre- 
historic. 

Lent  by  the  American  Museum  of  Natural  His- 
tory, 1915. 

Shawl-like  garment  of  cotton,  embroidered  in  vicuna 
wool.  Dark  ground  with  regularly  distributed  figures  of 
the  puma  god,  half  cat,  half  human,  in  polychrome.  Found 
with  a  mummy  in  an  ancient  grave  at  Inca,  Peru. 

40  X  95  in. 

59  TAPESTRY    PONCHO,    PERUVIAN  (PACHA- 
CAMAC ) .  prehistoric. 

Lent  by  the  American  Museum  of  Natural 
History,  191 5. 

Tapestry  weave  in  polychrome. 

23%  X  41^/  in. 

60  TAPESTRY,  PERUVIAN,  prehistoric. 

Purchase,  Rogers  Fund,  1909. 

Four  fragments  of  tapestr>^  weave  in  polychrome.  The 
largest  of  these  is  of  a  later  period  than  the  others  of  the 
geometric  type  of  pattern,  and  the  figures  and  animal  forms 
show  a  marked  similarity  to  Coptic  work  of  the  sixth  to 
seventh  centuries,     (cf.  No.  34.) 


11.    EUROPEAN  TEXTILES 


WITH  the  passing  of  the  roundel  type  of  pattern 
which  characterizes  the  Byzantine  and  early 
mediaeval  weaves,  we  find  in  the  Mediterranean 
fabrics  of  the  thirteenth  and  fourteenth  centuries  a  marked 
stylistic  change;  horsemen  and  warriors  disappear  and  are  sup- 
planted by  variants  of  the  Assyrian  horn  motive,  a  tree  between 
two  rampant  lions  or  cheetahs,  which  in  its  modified  form  has 
developed  into  a  highly  conventionalized  plant  form  supported 
by  birds,  gazelles,  or  griffins.  These,  in  stately  pairs,  are  placed 
in  oval  fields  framed  by  ogival  bands  (cf.  No.  57)  or,  again, 
are  combined  with  palmettes  in  an  open  field  (No.  61).  A 
gradual  drawing  away  from  the  plastic  lines  of  the  earlier 
patterns  begins  to  make  itself  felt;  while  the  figures  still  main- 
tain a  formal  dignity,  the  treatment  is  less  archaic  and  shows 
greater  freedom.  This  type  of  pattern  prevailed  in  the 
weaves  of  the  Eastern  Mediterranean  section  well  into  the 
fourteenth  century,  while  at  the  same  time,  in  the  wake  of  the 
Arabs  as  they  moved  westward,  patterns  of  interlacing  bands 
and  stars  combined  with  Cufic  or  Neskhi  inscriptions  were 
evolved,  which  were  the  basis  of  the  Hispano-Arabic  style. 
In  northern  Italy,^  in  Lucca,  and  later  in  Venice  ^  there 

1  While  Lucca  was  the  center  of  the  weaving  industry  in  Italy  in 
the  thirteenth  century,  the  Florentines  were  weaving  silk  in  the  fourth 
century.  The  church  of  St.  Paulinus  at  Trier  has  in  its  treasury  a 
fabric  from  the  shroud  of  that  saint — who  died  in  358 — bearing  a 
Florentine  mark. 

2  Between  1310  and  1340  some  twenty  families  of  weavers  migrated 
from  Lucca  to  Venice  and  there  established  a  silk  industry. 

20 


EUROPEAN  TEXTILES 


21 


developed  in  the  fourteenth  century  weaves  of  a  distinctly 
different  character.  In  these  the  designers  seem  to  have  freed 
themselves  from  the  fetters  of  tradition ;  casting  aside  all  con- 
vention, they  revel  in  the  displacement  of  line  and  symmetry, 
and  the  old  style,  based  on  circular  forms,  gives  way.  A  fresh 
treasury  of  form  is  drawn  upon,  a  vein  rich  in  a  new  variety 
of  motives  in  which  the  central  thought  is  action ;  the  repose 
that  marked  the  earlier  patterns  is  lost  in  a  maze  of  warring 
birds  and  beasts,  some  in  fetters,  others  springing  from  wind- 
tossed  branches.  Out  of  this  confusion  emerges  another  type, 
illustrated  by  the  exquisite  fabric  from  the  Badia  Collection 
(No.  83)  lent  by  the  Museum  for  the  Arts  of  Decoration  at 
Cooper  Union.  In  this  we  find  a  diagonal  scheme  of  orna- 
ment fully  developed,  a  scheme  in  w^hich  a  divergence  from 
the  perpendicular  shows  a  marked  Oriental  feeling. 

The  source  from  which  this  marked  change  in  style  drew  its 
inspiration  may  be  traced  to  the  Far  East.  The  thirteenth 
century  marked  an  epoch  in  the  development  of  commerce ;  the 
return  of  the  Crusaders  and  the  subsequent  opening  up  of  new 
trade  routes  with  the  East  established  increased  trading  facili- 
ties in  the  Mediterranean,  while  at  the  same  time  the  Hanseatic 
League,  formed  about  1255- 1260,  did  much  toward  creating 
commercial  activity  in  the  northern  cities.  There  was  also  a 
remarkable  development  along  these  lines  in  the  Far  East 
where  Mongol  rule  extended  not  only  over  China,  but  as  well 
over  the  greater  part  of  Asia.  In  the  fourteenth  century  the 
looms  of  China  were  weaving  fabrics  for  the  western  market, 
a  fact  proved  by  the  authentic  record  of  seven  hundred  pieces 
of  stuffs  which  an  embassy  from  the  Mongolian  Khan  pre- 
sented to  the  Sultan,  Nasir  Eddin  (c.  1323),  ruler  of  the 
Mamelukes  in  Egypt.^  The  extent  of  the  commercial  activity 
of  China  in  the  Occident  is  further  attested  by  the  presence 
of  many  Far  Eastern  fabrics  of  this  period  in  the  church  treas- 
uries of  Europe."    The  earliest  dated  piece  is  at  Perugia,  a 

1  cf.  No.  387,  a  fragment  of  Chinese  silk  from  an  Egyptian  tomb. 

2  Regensburg  counts  among  its  treasures  a  whole  set  of  chasubles 


22 


SPECIAL  EXHIBITION  OF  TEXTILES 


fragment  of  Chinese  gold  brocade  from  the  shroud  of  Pope 
Benedict  XI,  who  died  in  that  city  in  1304. 

While  this  Oriental  influence  is  strongly  marked  in  many  of 
the  weaves  of  northern  Italy,  it  is  perhaps  most  noticeable  in 
the  work  of  Lucca  and  Venice.  Take,  for  instance,  the  war- 
ring birds  and  beasts,  the  bird  often  of  the  fonghoang  type 
(No.  77),  the  imperial  phoenix  of  China,  with  its  talons  and 
waving  tail  plumes;  the  occasional  archer  with  the  Persian 
bow  and  arrow  of  the  Sassanian  warriors,  familiar  in  the  early 
Alexandrian  weaves;  or,  again,  the  Chinese  cloud  motive  in  the 
vestments  of  the  censing  angels  in  No.  80,  all  elements  entirely 
foreign  to  European  art  of  the  period.  Many  of  the  fabrics 
formerly  attributed  to  the  looms  of  Palermo,  where  in  Sicily 
the  silk  industry  was  established  in  the  twelfth  century  by 
Roger  II,  have  of  late  been  attributed  to  the  workshops  of 
northern  Italy,  that  is,  native  work  inspired  by  Chinese  models 
as  above  stated,  rather  than  that  of  Palermo,  the  claim  being 
made  that  the  type  of  pattern  is  far  too  late  to  have  been  pro- 
duced in  Saracenic  Sicily. 

In  the  fifteenth  century  we  find  the  abrupt  diagonal  style 
gradually  reverting  to  the  formality  of  the  perpendicular,  and 
the  sinuous  trunk  and  pomegranate  patterns  (cf.  No.  124  if.) 
marking  the  evolution  of  the  pure  Italian  style  which  emerges 
triumphant  from  the  conflicting  foreign  elements  of  the  earlier 
period.  The  luxurious  court  of  the  Medici  demanded  rich 
fabrics  and  it  was  at  this  time  that  the  velvet  weaves  of  north- 
ern Italy  appeared  upon  the  market.  In  these  early  Genoese 
and  Venetian  velvets  the  pattern  is  often  a  delicately  lined  leaf 
form  of  reversed  curves  inclosing  a  central  ornament,  usually 
the  pomegranate  or  cone  motive  (No.  96  if.),  and  these  large 
patterns  were  used  alike  for  interior  decoration,  vestments,  and 
costumes. 

The  beautiful  fabrics  illustrated  in  the  paintings  of  the  early 

and  dalmatics  in  Chinese  brocade,  while  at  Perugia,  Berne,  Braun- 
schweig, Danzig,  Stralsund,  and  Brandenburg  are  preserved  vest- 
ments of  the  fourteenth  century  either  entirely  or  in  part  of  Chinese 
fabrics. 


EUROPEAN  TEXTILES  23 

Flemish  masters,  and  formerly  attributed  to  native  looms,  were 
without  doubt  imported  from  Italy.  While  Ghent  and  Bruges 
were  centers  of  the  cloth  industry,  there  is  no  record  of  the 
existence  of  large  silk  works;  and,  inasmuch  as  the  merchant 
princes  of  these  cities  carried  on  an  extensive  trade  with  Italy 
and  the  Near  East,  it  need  not  be  assumed  that  fabrics  such  as 
are  illustrated  in  the  works  of  the  northern  painters  were  the 
output  of  Flemish  looms:  they  are  far  too  sumptuous  in  color 
and  texture  and  too  elegant  in  design  to  have  been  produced 
by  a  people  whose  art  is  characterized  by  simplicity  of  line,  and 
whose  color  scheme  is  often  pitched  in  a  minor  key.  The 
area  of  Italian  influence  was  also  broadened  by  political  dis- 
turbances in  the  northern  provinces,  which  drove  many  artisans 
to  other  localities;  while  the  successful  campaigns  of  Francis  I 
and  the  rapid  rise  of  Spain  to  an  era  of  opulence  attracted  the 
artists  and  scholars  of  Italy  to  foreign  courts.  Spain,  long 
subject  to  the  Moorish  art  of  her  conquerors,  could  hardly  have 
evolved  a  style  so  akin  to  that  of  Italy  without  the  inspiration 
of  Italian  models.  In  fact,  the  close  similarity  between  the 
pomegranate  weaves  of  these  two  countries  renders  accurate 
attribution  well-nigh  impossible,  although  the  occasional  lattice 
device  and  the  profusion  of  gold  is  perhaps  more  indicative  of 
Spanish  than  of  Italian  work. 

In  the  sixteenth  and  seventeenth  centuries,  with  the  develop- 
ment of  household  arts,  a  subtle  refinement  began  to  make 
itself  felt;  whereas  originally  no  distinction  was  made  between 
fabrics  employed  for  interior  decoration  and  those  intended  for 
costumes,  the  same  large  patterns  being  used  for  both,  there 
now  appeared  in  portraits,  velvet  weaves  of  small,  closely 
arranged  motives  such  as  are  illustrated  in  the  works  of  Van 
Dyck  and  Frans  Hals,  while  the  highly  developed  ogival  or 
muUion  type  of  pattern  was  reserved  for  upholstery. 

In  France,  the  native  weaving  industry  during  the  fourteenth 
and  fifteenth  centuries  received  inspiration  from  Italian  im- 
migrants, refugee  weavers  from  Lucca  and  Florence  who 
plied  their  craft  in  scattered  settlements  in  the  southern  districts ; 


24  SPECIAL  EXHIBITION  OF  TEXTILES 

but  with  the  establishment  of  the  Lyons  factory  during  the  reign 
of  Louis  XI,  there  developed  in  France  an  industry  that  even 
today  rivals  all  foreign  competitors.  Italian  fabrics,  however, 
were  still  popular  in  the  French  court  throughout  the  reign  of 
Louis  XIII,  but  with  the  accession  of  Louis  XIV,  national 
industries  sj^stematized  under  court  patronage  entered  upon  an 
era  of  prosperity.  Costumes  fashioned  of  richest  brocades  and 
costly  laces  were  the  order  of  the  day  and  extravagance  knew 
no  bounds.  Court  designers  of  the  highest  order,  such  men  as 
Berain  and  Le  Brun,  were  employed  to  draft  patterns  for  the 
newly  developed  "points  de  France,"  and  the  exquisite  charm 
of  these  designs  was  a  source  of  inspiration  to  the  weavers, 
who  produced  fabrics  marked  by  an  elegant  symmetry  and 
balance  that  have  never  been  excelled.  Once  established,  the 
industrial  arts  continued  to  flourish;  and  the  weaves  of  Lyons 
record  the  ebb  and  flow  of  French  taste  in  the  eighteenth 
century. 

The  religious  fervor  of  Louis  XIV  during  the  later  years 
of  his  reign  withdrew  his  attention  from  public  affairs,  and  the 
severe  regime  of  the  royal  household  was  reflected  in  every 
phase  of  court  life.  Thus  it  is  that  the  death  of  this  monarch 
marks  a  new  epoch,  a  reaction  in  the  popular  mind  that  left  its 
imprint  on  the  art  of  the  nation.  Wearied  with  the  monotony 
of  religious  routine,  the  court  demanded  the  brilliant  life  of 
form.er  days;  and  with  the  advent  of  the  young  king  the  silk 
weaves,  wrought  to  meet  the  current  demand,  show  a  marked 
digression  from  the  dignity  of  the  seventeenth-century  patterns 
in  the  naturalistic  floral  effects  of  the  early  rococo  type.  Occa- 
sional baroque  bands,  which  were  soon  replaced  by  ribbon 
ef¥ects  and  garlands,  but  dimly  suggest  the  ornate  style  of  the 
Louis  XIV  period.  During  the  first  half  of  the  eighteenth 
century  a  new  element  appeared  in  European  art;  once  more 
the  Oriental  influence  was  apparent  in  the  choice  of  motive,  a 
type  of  pattern  that  developed  subsequent  to  the  arrival  of  a 
visiting  embassy  from  the  East  and  the  establishment  of  the  East 
India  Company,  both  potent  factors  in  the  trend  of  popular 


EUROPEAN  TEXTILES  2$ 

taste.  As  the  century  advanced,  fashion  demanded  lighter 
fabrics  with  daintier  patterns  and  the  art  of  weaving  turned  to 
that  of  ceramics  for  inspiration;  with  the  Dresden  floral  pat- 
terns that  now  appear  we  find  garlands,  bow-knots,  birds,  and 
garden  motives  drawn  with  the  exquisite  charm  peculiar  to 
the  French  draughtsman.  But  again  in  the  last  quarter  of  the 
century  comes  a  marked  divergence  of  style.  David, ^  the  court 
painter,  returning  from  a  sojourn  in  Italy  brought  with  him 
fresh  inspiration  from  the  Pompeiian  treasures.  The  court, 
ever  ready  to  welcome  a  novelty,  at  once  adopted  classic  modes 
and  demanded  fabrics  to  correspond.  In  costume,  silks  in 
striped  effects  and  Indian  muslins  became  the  vogue,  while  in 
upholstery  the  classic  type  of  ornament  was  dominant  (cf.  No. 
234),  a  style  that  reached  its  height  in  the  First  Empire  and 
extended  its  influence  far  beyond  the  borders  of  France. 

While  industrial  weaving  flourished  in  the  smaller  hamlets 
of  continental  Europe  during  the  eighteenth  century,  the 
principal  commercial  interest  centered  in  Lyons,  although 
equally  beautiful  weaves  wevt  produced  in  Venice  (cf,  Nos. 
236,  238).  In  England,  also,  during  the  second  quarter  of 
the  century,  the  brocades  of  Spitalfield  ^  gained  great  popularity 
and  for  a  time  proved  a  dangerous  rival  to  those  of  France. 
The  end  of  this  century,  however,  marked  the  close  of  a 
brilliant  era  in  industrial  arts  that  has  never  been  surpassed, 
the  decadent  art  of  the  nineteenth  century  lacking  in  every 
detail  the  grace  and  charm  that  disappeared  with  the  destruc- 
tion of  the  French  industries  at  the  time  of  the  Revolution. 

1  While  traces  of  the  classic  style  are  found  in  art  of  the  Louis  XV 
period,  David,  an  artist  usually  associated  with  the  Napoleonic  era, 
did  much  through  his  early  work,  especially  his  Oath  of  the  Horatii, 
painted  in  1784,  toward  increasing  the  vogue  for  the  antique. 

2  Patterns  for  these  silks  designed  by  Anna  Maria  Garthwaite,  are 
preserved  in  the  library  of  the  Victoria  and  Albert  Museum,  London. 


26  SPECIAL  EXHIBITION  OF  TEXTILES 

MEDIAEVAL 

X-XV  CENTURY 

61  BROCADE,  ITALIAN  OR  SICILIAN,    xii  cen- 
tury. 

Purchase,  Rogers  Fund,  1907. 

Buff  on  green  with  details  in  silver  thread.  Design  of 
palmettes  alternating  with  parrots  and  gazelles,  arranged 
in  pairs.  A  similar  fragment  at  Diisseldorf  is  attributed 
to  Lucca  by  Von  Falke. 

cf.  Meisterwerke  Muhammed,  pi.  183;  Von  Falke,  Nos. 
277,  278,  279;  Errera,  No.  38. 

Exhibited  in  the  Paterson  Historical  Exhibition  of  Tex- 
tiles, 1 91 5. 

07.243  9'A  X  ijVs  in. 

62  BROCADE,   ITALIAN  OR  SICILIAN,    xii  cen- 
tury. 

Lent  by  Dr.  Denman  W.  Ross,  191 5. 

Damask  pattern  in  mauve  with  details  brocaded  in  silver 
thread.    Design  of  palmettes  with  parrots  and  antelopes. 

Exhibited  in  the  Paterson  Historical  Exhibition  of  Tex- 
tiles, 1 91 5. 

L.I 520  7  X  145^  in. 

63  BROCATELLE,  GERMAN,  REGENSBURG  (?). 
xii-xiii  century. 

Purchase,  Rogers  Fund,  1909. 

Fragment  woven  in  two  shades  of  tan,  the  pattern,  pairs 
of  birds,  in  brown.    From  the  Fischbach  Collection, 
cf.  Errera,  No.  6. 

09.50.990  i^  X  7  in. 

64  BROCATELLE,     GERMAN,  REGENSBURG. 

ABOUT  1300. 

Purchase,  Rogers  Fund,  1909. 

Tan-colored  ground  with  ogival  pattern  in  gold.  The 
cone  motive  alternates  with  pairs  of  birds.   A  similar  speci- 


BROCADE,  ITALIAN  OR  SICILIAN 
XII  CENTURY 


EUROPEAN  TEXTILES  MEDIAEVAL 


27 


men  at  Diisseldorf.  From  the  Fischbach  Collection.  Speci- 
mens of  this  fabric  are  preserved  in  the  Victoria  and  Albert 
Museum  (No.  775),  Musee  Suermondt  at  Aix  la  Chapelle 
and  the  Nuremberg  Museum. 

111.  Coll.  Badia,  pi.  XVII,  No.  15;  Von  Falke,  316; 
cf.  Errera,  No.  13. 

09.50.937  7  X  7  in. 

65  WOOL    AND     COTTON     SERGE,  ITALIAN 
(lucca).    xiii  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Black  ground  with  birds  and  griffins  symmetrically  com- 
bined with  foliated  scrolls. 

L.1533.20  10  X  14^  in. 

66  BROCADE,  SICULO-SARACENIC.    xiii-xiv  cen- 
tury. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Fragment:  black  ground  with  design  in  gray  green. 
The  pattern  consists  of  small  motives  compactly  arranged, 
urns  supported  by  griffins  and  birds. 

111.  Errera,  No.  20. 

L.1533.19  8  X  22  in. 

67  BROCADE,  ITALIAN,    xiii  century. 

Purchase,  Rogers  Fund,  1907. 

Fragment  woven  in  dull  red  and  tan  (white?).  Design 
of  geometric  banding  inclosing  an  eagle  in  an  eight-pointed 
star  device.    Italian  work  under  Arabic  influence. 

111.  Von  Falke,  No.  273. 

07.243.3  4x  10  in. 

68  BROCADE,    ITALIAN    OR    SICILIAN.  xiii-xiv 
century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion at  Cooper  Union,  191 5. 

W^oven  in  reddish  violet  and  yellow.  Design  an  ar- 
rangement of  grape  leaves  and  scrolls  with  set  medallions. 


28  SPECIAL  EXHIBITION  OF  TEXTILES 

containing  peacocks  and  eagies,  the  latter  bearing  a  scroll 
inscribed  with  the  Italian  word  Grifone. 

J.  Pierpont  Morgan  Collection.  Originally  in  the 
Stanislas  Baron  Collection;  a  fragment  of  this  fabric  is 
preserved  at  Diisseldorf. 

L.I533-II  iiy2  X  i^y2  in. 

69  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Purchase,  Rogers  Fund,  igog. 

Fragment  of  linen  with  design  in  black,  two  pointed 
roundels  inclosing  alternate  patterns  of  birds  and  pseudo- 
Arabic  letters.    From  the  Fischbach  Collection. 

Fragments  of  this  stuff  are  preserved  in  the  Museum  of 
Nuremberg,  the  Victoria  and  Albert  Museum  (No.  590), 
and  the  Errera  Collection  (No.  402)  at  Brussels. 

09.50.1 164  2  X  414  in. 

70  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Purchase,  Rogers  Fund,  1909. 

Grayish  ground,  with  design  printed  in  gold.  Griffins 
with  serpentine  necks  so  interlaced  as  to  form  palmette 
motives  combined  with  scrolls.  From  the  Fischbach  Col- 
lection. 

111.  Coll.  Badia,  pi.  14,  No.  250. 

09.50.1 163  4  X  7  in. 

71  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  ground  with  pattern  in  silver.  Design  composed 
of  scrolling  bands  framing  rampant  lion,  alternating  with' 
rayed  disks  and  serpentine  griffins.  From  the  Fischbach 
Collection. 

09.50.1093  6  X  i^y2  in. 

72  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  ground  with  pointed  roundel  patterns  in  silver. 
From  the  Fischbach  Collection. 

09.50.1 165  X  10  in. 


EUROPEAN  TEXTILES  MEDIAEVAL  2g 

73  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Weave  in  natural  linen  with  design  printed  in  blue 
roundel  pattern  with  birds. 
Coll.  Badia,  No.  245. 

L.1533.8  9  X  II  in. 

74  PRINTED  LINEN,  RHENISH,    xiii-xiv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Pinkish  ground  with  same  design  as  No.  70.  Badia  Col- 
lection. 

L.1533.10  9  X  13!/^  in. 

75  BROCADE,    ITALIAN,    VENETIAN,    early  xiv 
century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 

Green  satin  ground  brocaded  in  gold  with  alternate 
motives  of  a  phoenix  and  a  lion,  the  latter  emerging  from 
a  group  of  rayed  crescents  and  attacking  a  doe. 

From  the  Badia  Collection ;  exhibited  in  the  Historical 
Exhibition  of  Textiles  at  Paterson,  191 5.  Specimens  of 
this  fabric  are  preserved  in  the  Victoria  and  Albert 
Museum  (No.  781),  in  the  Musee  des  Arts  decoratifs, 
Paris,  and  in  Nuremberg  (No.  515).  A  similar  piece  in 
the  Marienkirche  at  Danzig. 

111.  Errera,  No.  55,  and  Coll.  Badia,  pi.  XXIX,  No.  8; 
cf.  Hinz,  pi.  XLIV,  No.  3 ;  Fischbach,  pi.  39,  No.  2. 

L.1533.2  I2>^  X  18  in. 

76  BROCADE,  ITALIAN,    first  half  of  xiv  century. 

Purchase,  Rogers  Fund,  1912. 

Mauve  satin  ground  with  design  of  flying  birds  and 
conventionalized  floral  sprays  in  gold  and  dull  pink.  This 
fabric  is  preserved  in  vestments  at  Cologne  and  Halber- 
stadt. 

111.  Von  Falke,  No.  388;  Fischbach,  pi.  262. 

12.55.4  8x12  in. 


SPECIAL  EXHIBITION  OF  TEXTILES 


BROCADE,  ITALIAN  (LUCCA),  second  half  of 
xiv  century. 

Purchase,  Rogers  Fund,  1909. 

Tan  satin  ground  brocaded  in  gold  and  touches  of  blue. 
Design  of  castle  with  warring  lion  and  phoenix.  At  the 
base  a  band  of  Neskhi  inscription  with  rays.  From  the 
Fischbach  Collection. 

cf.  Von  Falke,  No.  450. 

09.50.980  X  14  in. 

BROCADE,  ITALIAN  (LUCCA),  second  half  of 
xiv  century. 

Purchase,  Rogers  Fund,  191 2. 

Green  satin  ground  brocaded  in  gold  design  of  sym- 
metrically placed  palmettes  and  griffins  with  flaming  manes. 
A  similar  fabric  in  a  chasuble  at  Danzig. 

111.  Von  Falke,  No.  433. 

12.55  13  X  I9>^  in. 

BROCADE,  ITALIAN,    xiv  century. 
Purchase,  Rogers  Fund,  1909. 

Fragment  of  light  red  satin  ground  brocaded  with  gold. 
The  design  shows  two  recumbent  stags  beneath  a  rayed 
device  with  branching  bands  of  ornament.  From  the  Fisch- 
bach Collection. 

111.  Dreger,  pi.  108;  Fischbach,  pi,  35,  No.  2. 

09.50.1619  X  9>4  in. 

BROCADE,  ITALIAN,    end  of  xiv  century. 
Purchase,  Rogers  Fund,  191 5. 

Mauve  satin  ground  brocaded  in  gold  with  nimbed 
angels  bearing  thuribles  and  emblems  of  the  passion,  the 
spear  and  nails;  the  intervening  spaces  seme  with  stars. 

Similar  pieces  with  other  angels  bearing  a  cross  are  pre- 
served in  the  Berlin  and  Lj  ons  museums.  The  influence 
of  the  Orient  is  shown  in  the  "Tartar  cloud"  device  and 
crescents  that  appear  in  the  robes  of  the  censing  angels. 
Cole  describes  this  fabric  as  "part  of  a  liturgic  vestment 
for  days  of  mourning"  (p.  66). 


8o  BROCADE,  ITALIAN  85   BROCADE,  ITALIAN 

END  OF  XIV  CENTURY  XIV-XV  CENTURY 

Lent  by  H.  E.  Wetzel 


EUROPEAN  TEXTILES  MEDIAEVAL 


31 


111.  Coll.  Badia,  pi.  22,  No.  7 ;  Lessing,  pi.  83  ;  cf.  Von 
Falke,  464;  Cox,  pi.  47,  No.  i. 

15.126  6}4-  X  23  in. 

81  BROCADE,  ITALIAN,    second  half  of  xv  cen- 
tury. 

Purchase,  Rogers  Fund,  1909. 

Gray  violet  satin  ground  brocaded  in  gold  with  a  sym- 
metrical design  of  formal  leaf  motives  balanced  by  pairs 
of  leopards  and  eagles.  In  the  intervening  spaces,  rayed 
crescents.  Similar  fabrics  preserved  in  the  museums  of 
Diisseldorf  and  Nuremberg.  From  the  Fischbach  Col- 
lection. 

111.  Von  Falke,  No.  476. 

09.50.979  10  X  19J/2  in. 

82  DAMASK,  ITALIAN  (LUCCA),    xiv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

White  silk  damask  of  fine  quality.  The  design  consists 
of  rows  of  large  swan-like  birds,  each  with  a  chain  about 
its  neck  and  a  sprig  in  its  beak. 

While  the  bird  resembles  those  found  in  early  Sassanian 
art,  the  cloud-like  motive  to  which  the  chain  is  attached  is 
evidently  inspired  by  a  Chinese  model.  The  formal  rose 
spray  appears  again  in  the  interesting  fabric  with  eagles. 
No.  85.  From  the  Badia  Collection.  Exhibited  in  the 
Paterson  Historical  Exhibition  of  Textiles. 

L.1533  7  X  14  in. 

83  BROCADE,  ITALIAN,    xiv-xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Brocade  woven  in  greenish  gray  with  slanting  pattern 
of  slender  sprays  terminating  in  palmettes  combined  with 
birds  originally  woven  in  gold  and  white.  A  typical  ex- 
ample of  Italian  work  inspired  by  a  Chinese  model.  The 
bird  motive,  the  fon^hoang  or  Chinese  phoenix,  is  an  im- 
perial emblem.  A  similar  piece  in  the  Victoria  and  Albert 
Museum,  London. 

111.  Errera,  No.  74 ;  cf.  Coll.  Badia. 

L.1533.3  12  X  22  in. 


SPECIAL  EXHIBITION  OF  TEXTILES 

BROCADE,  ITALIAN,    xiv-xv  century. 
Purchase,  Rogers  Fund,  1909. 

Fragment  Vv^oven  in  dull  pink  damask  ground  (pattern 
obliterated),  with  individual  lion  and  peacock  motives. 
From  the  Fischbach  Collection. 

cf.  Errera,  No.  40. 

09.50  7>4  X  10  in. 

BROCADE,  ITALIAN,    xiv-xv  century. 
Lent  by  H.  E.  Wetzel,  191 5. 

Mauve  satin  ground  brocaded  in  gold,  with  a  design 
of  eagles  bearing  a  scroll  of  pseudo-Arabic  letters,  alter- 
nating with  foliated  medallions  framing  a  seated  animal 
form. 

Fabrics  of  this  type  are  usually  referred  to  as  the  prod- 
ucts of  Lucca;  Von  Falke  mentions  that  weaves  of  violet, 
red,  and  green  satin  ground  with  pattern  in  gold  are  typi- 
cally Venetian. 

111.  Lessing,  pi.  199,  No.  3;  Fischbach,  pi.  85;  cf.  Von 
Falke,  No.  492. 

L.1521  8  x  22>4  in. 

GOLD  BROCADE,  ITALIAN,    second  half  of  xv 

CENTURY. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Gray  satin  ground,  design  in  gold  of  conventional  leaves 
and  flowers,  with  dogs  attacking  birds. 

111.  Badia  Coll.,  pi.  VI,  No.  21;  cf.  Fischbach,  pi.  55, 
No  I  ;  Von  Falke,  479. 

L.1533.22  10  x  21  in. 

BROCADE,  SPANISPI  (?).    xiv  century. 
Purchase,  Rogers  Fund,  1915. 

Blue  ground  with  pattern  woven  in  gold.  Lotus  disks 
charged  with  adorsed  hares  framed  in  ogival  stems  of 
foliated  scrolls. 

111.  Cole,  No.  48;  cf.  Fischbach,  pi.  80,  No.  i;  Von 
Falke,  No.  343. 

15. 126.2  9%  X  16%  in. 


EUROPEAN  TEXTILES  MEDIAEVAL  33 

88    DAMASK,  SPANISH  (?).    xiv  century. 
Purchase,  Rogers  Fund,  1912. 

White  satin  ground  with  brocaded  arabesques,  floral 
motives,  and  inscribed  scrolls;  regularly  placed  formal  de- 
sign and  spiders  in  gold. 

Similar  piece  in  Victoria  and  Albert  Museum,  No.  49. 
Kgm.  Crefeld,  No.  96. 

111.  Errera,  No.  62;  cf.  Lessing,  pi.  194. 

12.55.2  9>^  X  12  in. 


89    BROCADE,  SPANISH  (?).    xiv-xv  century. 
Purchase,  Rogers  Fund,  1909. 

Blue  ground  with  pattern  woven  in  gold  thread.  The 
design  has  circular  medallions  edged  with  foliation  and 
four  masks  charged  with  two  griflRns  drinking  at  a  central 
fountain.  The  field  of  the  fabric  is  covered  with  small 
leafy  scrolls. 

An  interesting  piece;  while  the  griffins  are  distinctly 
Chinese  in  character,  the  fountain  and  masks  are  typical 
Renaissance  motives.  European  work  influenced  by  the 
Orient. 

111.  Von  Falke,  No.  351,  who  attributes  it  to  Persia; 
Lessing,  pi.  113-b,  who  considers  it  Spanish-Moorish;  and 
Fischbach,  pi.  82,  No.  2,  Italian  or  Spanish. 

09.50.1028  8  x  11^  in. 


90    BROCADE,  SPANISH  OR  ITALIAN,    xiv  cen- 
tury. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 

Dark  blue  ground  with  design  in  gold  conventional- 
ized leaves  and  scrolls  combined  with  a  bird  motive,  a 
variant  of  the  Chinese  fonghoang,  arranged  in  pairs.  A 
fragment  of  this  fabric  is  preserved  in  the  Cathedral  at 
Sens. 

111.  Cole,  pi.  47 ;  cf.  Coll.  Badia,  No.  44 ;  Errera,  No. 

58. 

L.1533.32  12  X  15  in. 


34 


SPECIAL  EXHIBITION  OF  TEXTILES 


91    DAMASK  BROCADE,  SPANISH,    xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Blue  ground  with  all-over  pattern  of  leafy  scrolls  in 
same  color,  inclosing  arms  of  the  Patala  family,  originally 
woven  in  metal. 


111.  Badia  Coll.,  pi.  XXVI,  No.  56;  Fischbach,  pi. 
108,  No.  6;  cf.  Lessing,  pi.  198,  b;  Errera,  No.  93. 


92    VELVET  BROCADE,  ITALIAN,    second  quarter 
of  XV  century. 

Purchase,  Rogers  Fund,  191 5. 

Crimson  satin  ground  with  pattern  in  cut  velvet  pile 
of  the  same  shade.  The  design  shows  a  diagonal  arrange- 
ment of  branching  sprays  and  conventionalized  floral 
forms  combined  with  a  flying  bird  motive  wTought  in 
silver. 

15. 125. 5  12^4  X  24  in. 


93    BROCADE,  ITALIAN  (VENICE),    second  quar- 


ter OF  XV  CENTURY. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Green  satin  ground,  bold  diagonal  design  of  palmette 
and  floral  forms  in  gold  with  touches  of  pink. 


111.  Badia  Coll.,  pi.  XX,  No.  84;  cf.  Von  Falke,  511; 
Lyons,  pi.  IX,  No.  2. 


94    VELVET  BROCADE,  ITALIAN  (VENICE),  sec- 


ond HALF  OF  XV  CENTURY. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Green  satin  ground.  Diagonal  design  of  palmettes 
and  leaves  in  velvet  with  details  in  gold  thread. 

cf.  Von  Falke,  510. 

L.1533.31  19x24  in. 


L.1533.25 


17^  X  18  in. 


L.I533-2I 


I2}i  X  26  in. 


93  BROCADE,  ITALIAN,  VENETIAN 
SECOND  QUARTER  OF  XV  CENTURY 

Lent  by  the  Museum  for  the  Arts  of  Decoration  at 
Cooper  Union 


EUROPEAN  TEXTILES  RENAISSANCE 


35 


RENAISSANCE 

XV-XVI  CENTURY 

95    VELVET  BROCADE,  ITALIAN,    second  quarter 
of  xv  century. 

Purchase,  Rogers  Fund,  19 12. 

Cloth  of  gold  with  broad  serpentine  bands  alternating 
with  branches  of  large  leaf  forms  in  crimson  velvet,  and 
small  trumpet  blossoms  woven  in  two  heights  of  cut  pile. 

cf.  Lessing,  pi.  214;  Von  Falke,  No.  510;  Errera,  No. 
129. 

12.69.18  19  X  36  in. 


96  VELVET,  ITALIAN,   xv  century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Two  pieces  of  crimson  velvet  with  delicately  traced 
patterns  of  the  conventional  five-lobed  leaf  ornament  fram- 
ing the  foliated  pomegranate  motive.  The  surface  tex- 
ture is  cut  pile,  the  design  in  the  ground  weave  of  crimson 
silk. 

cf.  Von  Falke,  No.  504. 

L.1460.24-25  23>^  x  28>^  in. 

2i}i  X  30  in. 

97  VELVET,  ITALIAN,   xv  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  191 5. 

Crimson  velvet  similar  to  No.  96. 
111.  Errera,  No.  177. 

L.1474.302  24x25^  in. 

98-100  VELVET,  ITALIAN,   xv  century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Three  pieces  of  light  red  velvet  similar  in  design  to 
preceding. 

L.I 460.2 1, 22, 23  45^  x  50  in. 

9^x37  in. 
1054  X  39  in- 


36  SPECIAL  EXHIBITION  OF  TEXTILES 

101  VELVET,  ITALIAN,    xv  century. 

Purchase,  Rogers  Fund,  1907. 

Crimson  velvet  with  design  similar  to  No.  96,  but  with 
elaborated  detail. 

07.62.8  7^  X  20  in. 

102  VELVET,  ITALIAN,    xv  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  velvet  with  pomegranate  design  similar  to  Nos. 
96-101. 

09.50.1014  9^x23^^  in. 

103  VELVET,  ITALIAN,    xv  century. 

Purchase,  Rogers  Fund,  1909. 

Dark  blue  velvet.     Pomegranate  design  with  heavy 

division  lines.  From  the  Fischbach  Collection. 

09.50.995  10x23  in. 

104  VELVET,  ITALIAN,    xv  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  19 15. 
Panel  of  dark,  smoky,  blue-violet  velvet.  Pomegranate 
design. 

L.1474.303  43  X89  in. 

105  VELVET,  ITALIAN,    xv  century. 

Purchase,  Rogers  Fund,  1915. 

Yellow  velvet  with  a  delicately  traced  pomegranate  pat- 
tern, similar  to  No.  96. 

15.108  22>^  X  39  in. 

106  VELVET,  ITALIAN,    xv  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  19 15. 
Blue  velvet  wrought  with  gold  in  an  ornate  pome- 
granate pattern. 

L.683.2  54  x  60  in. 

107  BROCADE,  ITALIAN,    xv  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 
Apricot  ground.     Pomegranate  design  framed  in  ara- 


I04     VELVET,  ITALIAN 
XV  CENTURY 

Lent  bv  the  Estate  of  Theodore  M.  Davis 


EUROPEAN  TEXTILES  RENAISSANCE  37 

besque  bands  in  gold,  with  touches  of  white,  blue,  and 
green. 

L.I 53 1. 1 9  loVz  XII  in. 

108  BROCADE,  ITALIAN,    xv  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 
Cream  damask  ground  with  design  of  floral  urns  in 
green,  red,  and  yellow. 
111.  Errera,  No.  186. 

L.I 53 1. 1 5  11^/2x20^/^  in. 

109  DAMASK,  ITALIAN,    end  of  xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 
Green   ground   with   pomegranate   pattern   in  darker 
shades. 

L.1531.28  16x30^  in. 

no  VELVET  BROCADE,  ITALIAN,    xvi  century. 
Purchase,  Rogers  Fund,  1909. 

Tan-colored  ground  with  an  elaborate  ogival  pattern 
of  scrolling  leaves  and  floral  forms,  woven  in  golden 
brown.    From  the  Fischbach  Collection. 

09.50.1083  91^x23  in. 

111  BROCADE,  PORTION  OF  AN  ORPHREY,  ITAL- 
IAN (FLORENCE),    xv  century. 

Purchase,  Rogers  Fund,  1908, 

The  Annunciation,  woven  in  silk  and  gold  thread.  The 
drawing  is  very  fine  and  suggests  the  influence  of  PoUai- 
uolo.  Such  designs  as  this  were  woven  in  long  strips  for 
orphreys  and  apparels  of  church  vestments.  This  is  an 
exceptional  piece  both  in  technique  and  design,  one  of  the 
best  known. 

08.109.27  X  8  in. 

112  BROCADE,  ITALIAN,  FLORENTINE,  xv-xvi  cen- 
tury. 

Purchase,  Rogers  Fund,  19 14. 

Orphrey:  red  ground  with  design  in  gold.  Subject:  the 
Coronation  of  the  Virgin. 

14.62.8  7j4  X  27  in. 


38  SPECIAL  EXHIBITION  OF  TEXTILES 

113  BROCADE,    ITALIAN,    FLORENTINE.  xv-xvi 

CENTURY. 

Purchase,  Rogers  Fund,  1914. 

Orphrey  woven  in  dull  pink  and  yellow.  Subject:  The 
Annunciation. 

14.62.9  6  X  40  in. 

114  BROCADE,    ITALIAN,    FLORENTINE.  xv-xvi 

CENTURY. 

Purchase,  Rogers  Fund,  1911. 
Orphrey  woven  in  pink  and  gold.    Rayed  disks  bearing 
the  sacred  monogram  alternating  with  cherubim. 

1 1.61.4  8  X  46  in. 

115  BROCADE,    ITALIAN,    FLORENTINE.  xv-xvi 

CENTURY. 

Purchase,  Rogers  Fund,  191  i. 

Dull  pink  ground  with  design  in  gold.  Subject:  The 
Resurrection. 

1 1.61.5  11x14  i"' 

116  BROCADE,    ITALIAN,    FLORENTINE.  xv-xvi 
century. 

Purchase,  Rogers  Fund,  1911. 

Apparel  from  dalmatic.  Red  ground  with  pattern  in 
gold;  touches  of  blue.    Subject:  The  Assumption. 

11.61.6  13^  X  i6j^  in. 

117-122  BROCADES,  ITALIAN,   xv-xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Portions  of  orphreys  woven  in  shades  of  red  and  yellow 
with  the  pattern  in  gold  thread.  Subjects:  The  Assump- 
tion, the  Madonna,  and  Adoring  Angels. 

L.1531.20-25  Largest,  9  X  18  V2  in. 

123  SILK  AND  LINEN  WEAVES,  RHENISH  (CO- 
logne),  xv-xvi  century. 
Purchase,  Rogers  Fund,  1909. 

Fragments  of  narrow  orphreys  woven  in  silk,  linen,  and 


Io8      BROCADE,  ITALIAN 
XV  CENTURY 

Lent  by  Pratt  Institute  of  Brooklyn 


EUROPEAN  TEXTILES  RENAISSANCE 


39 


gold  with  stylistic  trees  and  lettering.  From  the  Fisch- 
bach  Collection. 

These  fabrics,  usually  referred  to  as  ''Cologne  bands," 
were  woven  on  small  hand-looms  and  used  in  ornamenting 
church  vestments. 

cf.  Errera,  No.  200. 

09.50 

124  VELVET  BROCADE,  ITALIAN,    second  half  of 
XV  century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Cloth  of  gold  with  serpentine  trunk  and  pomegranate 
pattern  in  grayish  mauve  velvet  enriched  with  gold  loop 
(boucle)  technique. 

cf.  Von  Falke,  No.  528;  Cole,  No.  66;  Errera,  Nos. 
138-151 ;  Lyons,  pi.  31. 

L.I 460.29  24x54  in. 

Velvets  of  this  type,  which  appear  in  the  paintings  of 
the  Italian,  Netherlandish,  and  Spanish  masters  of  the 
fifteenth  and  sixteenth  centuries,  are  doubtless  the  prod- 
ucts of  north  Italian  looms.  While  they  are  sometimes 
attributed  to  Spain,  the  prototype  of  this  pattern  may  be 
traced  back  to  the  period  of  the  Van  Eycks  (c.  13 85-1 441 : 
cf.  Ghent  altarpiece)  at  which  time  the  merchants  of 
Bruges  were  importing  largely  from  Italy.  These  velvets 
were  used  not  only  in  ecclesiastical  vestments,  but  as  well, 
in  costumes.  Interesting  illustrations  are  found  in  the 
following  works: 

Crivelli  (1430-1494).  Madonna  and  Child.  Benson 
Coll.,  London. 

Cristus  (1444- 1 470).  St.  Eloy  Selling  a  Ring  to  a 
Betrothed  Couple.  Cologne. 

CofFermans  (xvi  century).  Solomon  and  the  Queen 
of  Sheba.  Florence. 

Gallegos,  F.  (1475-1550).  Preaching  of  John  the 
Baptist.  Madrid. 

Memling  (c.  1430- 1494).  The  Marriage  of  St.  Cath- 
erine,   Altman  Coll. 

Montagna  ( 1450-1523) .    Two  Bishop  Saints.  Verona. 


40  SPECIAL  EXHIBITION  OF  TEXTILES 

125  VELVET  BROCADE,  ITALIAN,  end  of  xv  cen- 
tury. 

Purchase,  Rogers  Fund,  19 12. 

Crimson  velvet  ground  with  broad  ogival  bands  and 
palmettes  in  rich  gold  weave. 

12.49.5  25  X  102^  in. 

126  VELVET  BROCADE,   ITALIAN  OR  SPANISH, 
xv-xvi  century. 

Purchase,  Rogers  Fund,  191 5. 

Cloth  of  gold  with  design  in  crimson  velvet  similar  to 
No.  124. 

15.46  231^  x  85  in. 

127  COPE,  SPANISH.     EARLY  XVI  CENTURY. 

Lent  by  George  Blumenthal,  1915. 

Cloth  of  gold  with  serpentine  trunk  and  pomegranate 
pattern  in  crimson  velvet  pile,  enriched  with  gold  loop 
technique.  The  hood  and  orphreys  are  of  sumptuous  gold 
embroidery  in  the  following  subjects:  the  hood,  the  As- 
sumption; right  orphrey,  St.  Paul,  St.  John,  St.  Andrew; 
left  orphrey,  St.  Peter,  St.  James,  St.  Bartholomew.  See 
No.  124. 

L.I 530. 1  60  X  121  in. 

128  BROCADE,  SPANISH,   xvi  century. 

Purchase,  Rogers  Fund,  1914. 

Yellow  ground  with  repeating  pattern  of  large  pome- 
granate motive  woven  in  purple  and  gold  loop  technique. 
14.62.19  45  X  76  in. 

129  COPE,  SPANISH.   XVI  century. 

Purchase,  Rogers  Fund,  1914. 

Yellow  brocade  ground  with  bold  trellis  and  pome- 
granate design  in  gold  thread.  Embroidered  orphrey  with 
figures:  in  the  right,  St.  Peter,  St.  John,  and  St.  James;  on 
the  left,  St.  Paul,  St.  Philip,  and  St.  Thomas;  on  the  hood, 
the  Virgin  and  Child. 

cf.  Bulletin  M.  M.  A.,  vol.  X,  No.  3,  p.  47. 

14.134.1  54  X  113  in. 


125     VELVET  BROCADE,  ITALIAN 
END  OF  XV  CENTURY 


EUROPEAN  TEXTILES  RENAISSANCE  41 

130  VELVET  BROCADE,  ITALIAN,    xvi  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  191 5. 

Cloth  of  silver  ground  with  pattern  in  crimson  velvet 
woven  in  cut  and  uncut  pile.  Spiral  bands  framing  central 
palmettes;  details  in  a  small  checkered  pattern. 

cf.  Errera,  No.  279. 

L.  1 474.306  24.1/2  X  84^  in. 

131  VELVET,  ITALIAN,  VENETIAN,    xvi  century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Crimson  velvet  in  two  heights  of  cut  pile.  The  design 
in  relief  consists  of  a  variant  of  the  conventionalized  lotus 
motive  with  twisted  and  recurved  stems  that  terminate  a 
crown.  Such  strips  of  velvet  were  worn  over  one  shoulder 
as  a  badge  of  office  by  a  doge  or  senator  of  Venice  and  are 
to  be  found  in  portraits  by  Tintoretto  and  his  contem- 
poraries. 

111.  Errera,  No.  221-a;  cf.  Lessing,  pi.  225. 

L.  1 460. 1 4  gYz  X  73  in. 

132  GOLD  BROCADE,  SPANISH,   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Yellow  satin  ground  with  bold  roundel  pomegranate 
pattern  woven  in  gold  loop  technique. 

08.109.15  19^x24  in. 

133  VELVET  BROCADE,  ITALIAN,    xvi  century. 

Lent  by  Julian  Clarence  Levi,  191 5. 

Border  of  Renaissance  scrolls  woven  in  blue,  on  a  cream 
ground. 

L.1522.2  Ii>4x27^in. 

134  BROCATELLE,    SPANISH    OR   ITALIAN.  xvi 

CENTURY. 

Lent  by  Bashford  Dean,  19 15. 

Blue  ground.  Design  in  yellow;  an  ogival  framework 
of  lanceolate  leaves  inclosing  urn  of  flowers. 

L.1517.3  13  X  21  in. 


42  SPECIAL  EXHIBITION  OF  TEXTILES 

135  BROCATELLE,    SPANISH   OR   ITALIAN.  xvi 

CENTURY. 

Purchase,  Rogers  Fund,  1909. 

Design  in  soft  blue  and  tan  similar  to  preceding.  From 
the  Fischbach  Collection. 
09.50.1039 

136  BROCATELLE,  SPANISH,   xvi  century. 

Gift  of  J.  Pierpont  Morgan,  1906. 

White  ground  with  pattern  in  two  shades  of  tan. 
Foliated  scrolls  combined  with  eagle  device  supported  by 
lions  rampant;  kneeling  angels  and  two  birds  affrontes. 

06.943  20 V2  X  52  in. 

137  BROCADE,  SPANISH,   xvi  century. 

Lent  by  Bashford  Dean,  191 5. 

Yellow  ground.  Floral  design  in  violet  with  arabesque 
ogival  framework  of  lanceolate  leaves.  Medallions  inclos- 
ing crescent  and  balls  at  the  points  of  intersection. 

L.1517.20  22x44^4  in. 

138  VELVET  BROCADE,  ITALIAN,    xvi  century. 

Purchase,  Rogers  Fund,  1909. 

Cloth  of  silver  with  an  ogival  pattern  in  blue-gray. 
From  the  Fischbach  Collection. 

09.50.1082.  10x20  in. 

139  BROCATELLE,  ITALIAN,    xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Urn  design  in  yellow  flecked  with  blue  on  reddish  apri- 
cot ground. 

L.1531.27  13^  x20  in. 

140  BROCADE,  ITALIAN,    xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Urn  design  in  yellow  similar  to  No.  139. 

L. 1 53 1.26  8j4  X  19  in. 


EUROPEAN  TEXTILES  RENAISSANCE  43 

141  BROCATELLE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Crimson  satin  ground  with  ogival  pattern  in  white. 
From  the  Fischbach  Collection. 

09.50.1303  18  X  30  in. 

142  BROCATELLE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Crimson  satin  ground  with  pattern  in  white,  similar  to 
preceding.    From  the  Fischbach  Collection. 

09.50.2637  16^x245^ 

143  BROCATELLE,  ITALIAN  OR  SPANISH,  xvi-xvii 

CENTURY. 

Lent  by  Bashford  Dean,  191 5. 
Green  satin  pattern  of  formal  leaves,  urns,  and  flowers 
on  corded  yellowish  ground. 

L.1517.13  30x23  in. 

144  BROCATELLE,   ITALIAN  OR   SPANISH,  xvi- 
XVII  century. 

Purchase,  Rogers  Fund,  1908. 

Two  pieces  of  light  red  violet  pattern  on  golden  ground ; 
almost  identical  with  No.  143. 

08.168.6-7  7^x23^  in. 

9^x23^4  in. 

145  VELVET  BROCADE,  ITALIAN,   xvii  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Yellow  satin  ground ;  pattern  woven  in  crimson  velvet, 
diagonal  stems  with  scrolling  sprays  of  tulip  forms, 
cf.  Von  Falke,  576-577. 

L.1533.18  13  X22>^  in. 

146  LAMPAS,  ITALIAN(?).   xvii  century. 

Purchase,  Rogers  Fund,  1915. 

Design  of  grape-bunches,  leaves,  and  diagonal  stems  in 
yellow  and  white,  on  crimson  ground. 

15.87.3  13/^  X  20>^  in. 


44  SPECIAL  EXHIBITION  OF  TEXTILES 

147  BROCADE,  SPANISH,   xvii  century. 

Lent  by  Bashford  Dean,  191 5. 
Crimson  satin  ground,  serpentine  stems  in  silver  and 
flowers  in  gold. 

L.1517.12  32x41  in. 

148  VELVET,  ITALIAN,   xvi-xvii  century. 

Purchase,  Rogers  Fund,  191  i. 

Purple  velvet  ground,  continuous  horizontal  scroll  and 
tulip  design. 

1 1. 142.7  24  X  43  in. 

149  VELVET  BROCADE,  ITALIAN,   xvi-xvii  century. 

Purchase,  Rogers  Fund,  191 5. 

Ground  mulberry  satin,  ogival  design  in  cut  and  uncut 
velvet. 

Exhibited  at  the  Historical  Exhibition  of  Textiles  at 
Paterson. 

15.71  20x215^  in. 

150-151  LIGHT  BROCADE,  ITALIAN,   about  1600. 
Purchase,  Rogers  Fund,  1909. 

Two  panels  of  similar  design ;  birds,  crowns,  and  vines, 
one  blue,  one  green,  woven  with  silver  thread. 
08.168.4;  09.50.1016 

152  LIGHT  BROCADE,  ITALIAN,  xvii  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Similar  design  to  Nos.  150-15 1,  but  bolder  and  more 
symmetrical.  Woven  in  blue  and  silver.  Sometimes 
called  Sicilian. 

L.1531 

153  BROCATELLE,  ITALIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1915. 

Green  silk  ground  with  design  in  yellow  of  crowned 
birds,  rampant  lion,  and  floral  forms  arranged  in  alternate 
rows  in  ogival  framework. 

15.52. 1  40  x  156  in. 


EUROPEAN  TEXTILES  RENAISSANCE 


45 


154  BROCADE,  ITALIAN,   first  half  of  xvii  century. 

Gift  of  Walter  Jennings,  191  i. 

Cope,  silk  and  metal  ground  with  conventional  design 
in  gold  outlined  in  red,  inclosing  the  bee  device  of  the 
Barberini  family  and  the  rayed  sun.  Presented  to  the 
church  of  Santa  Maria  Maggiore,  Rome,  by  a  cardinal  of 
the  Barberini  family,  whose  arms  it  bears,  during  the 
pontificate  of  his  uncle,  Urban  VIII,  1623-1644. 

I  i.ioi  56  X  122  in. 

155  GOLD  BROCADE,  ITALIAN,    xvi-xvii  century. 

Purchase,  Rogers  Fund,  1911. 

Gold  ground  with  design  of  small  palmettes  and  scrolls 
in  red  outline. 

II. 6 1. 3  40x46  in. 

156  BROCATELLE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  191 5. 

Light  tan  ground  with  conventional  flower  and  urn 
design  in  yellow  with  touches  of  green. 

15.52.5  128  X  134  in. 


157  VELVET  BROCADE,  FRENCH,    early  xvii  cen- 


GiFT  OF  J.  Pierpont  Morgan,  1906. 
Mantle  of  a  court  page.    Gold  ground  with  set  pattern 
of  geometric  m^otives  woven  in  tan  velvet  of  cut  pile. 


158  VELVET  BROCADE,  ITALIAN,   xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Mauve  ground  woven  in  uncut  pile  {frise  or  epingle) 
with  close  pattern  of  small  scrolls  in  cut  pile  {coupe). 
A  combination  of  cut  and  uncut  pile  is  called  cisele. 

09.100  44x47^4  in. 


159  WOOL  WEAVE,  ITALIAN,    xvi-xvii  century. 


Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 
Tan  ground  with  pattern  of  regularly  distributed  con- 
ventionalized floral  forms  in  white. 


TURY. 


06.941 


Length,  32  in. 


L.1531.10 


9^  X  125^  in. 


46 


SPECIAL  EXHIBITION  OF  TEXTILES 


1 60  BROCATELLE,  ITALIAN,    xvi-xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Fragment.  Tan  ground  with  balanced  pattern  of  con- 
ventionalized floral  forms  and  ogives.  From  the  Fisch- 
bach  Collection. 

09.50.1644  6}i  X  12%  in. 


161  GOLD  BROCADE,  ITALIAN,  VENETIAN,  xvi 


century. 

Purchase,  Rogers  Fund,  1912. 

Altar  frontal.  Woven  in  red  and  gold.  Design  a  verti- 
cal arrangement  of  palmettes,  strongly  reminiscent  of  an 
Ottoman  model. 

12.136.1  4054x97>4  in. 

162  BROCADE,  SPANISH,  xvi  century. 
Purchase,  Rogers  Fund,  1912. 

Crimson  satin  ground;  balanced  design  of  arabesques, 
double-headed  eagles,  and  Chinese  motives  in  yellow  and 
colors. 


cf.  Errera,  No.  306;  Lyons,  pi.  XVI,  C;  Fischbach,  pi. 
89,  No.  2. 


163  BROCATELLE,  SPANISH.    xvi~xvii  century. 
Lent  by  Pratt  Institute  of  Brooklyn,  1915. 
Silk,  wool,  and  linen.    Rose  red  ground  with  formal 
design  of  birds,  crowns,  and  conventional  flowers. 


164  BROCATELLE,  SPANISH,   xvi-xvii  century. 
Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 
Green  silk  ground  with  birds  and  floral  forms  in  ecru 


12.55. 1 


20x21  m. 


L.1531.30 


iSy2  X  22 J4  in. 


cotton. 


L.1531.8 


20  x  25  m. 


165  BROCATELLE,  SPANISH,   xvi  century. 
Purchase,  Rogers  Fund,  1909. 

Red,  yellow,  white  with  metallic  thread.    Fine  design 


EUROPEAN  TEXTILES  RENAISSANCE  47 

of  floral  ogives  inclosing  pomegranate  and  urn  forms 

flanked  by  pairs  of  cockatoos  and  falcons.  From  the  Fisch- 
bach  Collection. 

09.50.927  18^  X  27>4  in. 

166  DAMASK,  SPANISH  OR  ITALIAN,   late  xvi  cen- 
tury. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Blue  satin  ground.  Lattice  and  urn  design  in  yellow. 
L.I 53 1. II  21  X  24  in. 


167  BROCADE,  SPANISH,    xvi-xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Blue  satin  ground.  Design  in  blue  silk  of  formal  floral 
designs  in  ogival  framework.  From  the  Fischbach  Collec- 
tion. 

cf.  Errera,  No.  281. 

09.50.1193  10^x19  in. 


168  BROCADE,  SPANISH,    xvi-xvii  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Crimson  ground,  flower  and  bird  design  in  grayish 
white  and  yellow.    Ogival  framing. 

L.1531.9  28x313^^  in. 


169  BROCATELLE,  SPANISH,    xvi-xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Green  satin  ground,  bold  arabesque  design  in  yellow. 
From  the  Fischbach  Collection. 

09.50.1017  21  X  34  in. 


170  SILK  WEAVE,  FRENCH,    xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Green  and  silver  fabric  with  a  pattern  of  formal  scrolls 
and  birds  branching  from  a  central  urn  motive.  From  the 
Fischbach  Collection. 

09.50.1301  191^x25  in. 


48  SPECIAL  EXHIBITION  OF  TEXTILES 

171  LAMPAS,  SPANISH,    xvi-xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Red  satin  ground,  formal  floral  and  arabesque  design 
in  yellow.    From  the  Fischbach  Collection. 

09.50,1312  21  X  27  in. 

172  LAMPAS,  SPANISH  OR  ITALIAN,    late  xvi  cen- 
tury. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Blue  ground  with  bold  device  of  crowns  and  branching 
leaves  in  tan  and  low  white. 

L.1531.12  14  X  24  in. 

173  SILK  WEAVE,  SICILIAN,    late  xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Yellow  and  green  silk  ground.    Lattice  and  urn  design 
in  green  in  raised  looped  technique. 

L.1531.14  I9j4  X  28  in. 

174  DAMASK,  ITALIAN  OR  SPANISH,    xvi-xvii  cen- 
tury. 

Lent  by  Bashford  Dean,  1915. 

Intertwining  lattice  and  floral  motives  in  blue.    Part  of 
a  chasuble. 

L.1517.18  15  X  42  in. 

175  WOOL      VELVET,  NETHERLANDISH 
(UTRECHT?).    XVI  century. 

Lent  by  Bashford  Dean,  1915. 
Green  ground,  design  of  arabesques  and  arms  of  Spain. 
Cut  to  two  heights  of  pile.    Part  of  a  chasuble. 

L.I 5 1 7. 1  95^  X  86  in. 

176  DAMASK,  SPANISH,    xvi  century. 

Lent  by  Bashford  Dean,  191 5. 

Rose  satin  ground  with  formal  design  in  ogival  frame- 
work, crowns  at  intersections. 

L.1517.10  17  X  2\y2  in. 


EUROPEAN  TEXTILES  RENAISSANCE  49 

177  BROCADE,  SPANISH,    xvi  century. 
Lent  by  Bashford  Dean,  191 5. 
Red  ground  with  blazing  sun  motive  in  yellow  sur- 
rounded by  leafy  scrolls. 

L.1517.25  15  X  25  in. 


178  WOOL  WEAVE,  SPANISH,    xvi-xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Dark  green  ground  with  design  of  birds,  stags,  and 
other  animals  in  white.    From  the  Fischbach  Collection. 
09.50.1307  15  x  26^  in. 


179  BROCADE,  SPANISH,    xvi-xvii  century. 

Lent  by  Bashford  Dean,  191 5. 

Crimson  ground  with  small  repeating  pattern  of  highly 
conventionalized  leaf  scrolls  and  stylistic  plant  form  in  yel- 
low. 

L.1517.24  14  X  31  in. 

180  BROCADE,  SPANISH,    xvi  century. 

Gift  of  M.  Van  Gelder,  191  i. 

Indigo  ground  with  design  of  conventionalized  plant 
forms  in  rectangles,  formed  by  lions  rampant.  A  similar 
piece  in  the  Victoria  and  Albert  Museum   (No.  880- 

1894). 

111.  Errera,  No.  360. 

ii.22.a  isYz  X  13^  in. 

181  BROCADE,  ITALIAN,    xvi  century. 

Purchase,  Rogers  Fund,  1913. 

Light  yellow  damask  with  pattern  of  conventionalized 
floral  urns  supported  by  rampant  lions. 

13.204.19  16  X  20  in. 

182  BROCADE,  SPANISH,    xvi  century. 

Purchase,  Rogers  Fund,  1909. 

Green  satin  ground,  ogival  framework  in  yellow  inclos- 
ing formal  floral  motive.    From  the  Fischbach  Collection. 
09.50.2118  14^  X  21  in. 


50  SPECIAL  EXHIBITION  OF  TEXTILES 

183  DAMASK,  SPANISH,    late  xvi  century. 

Purchase,  Rogers  Fund,  1913. 

Crimson  ground  with  design  of  small  angular  motives 
in  lighter  shade. 

13.204.66  20  X  21  in. 

184  BROCATELLE,  ITALIAN,    xvii  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Green  silk  ground,  small  repeating  design. 

L.1531.18  7  X  7j4  in, 

185  VELVET  BROCADE,   ITALIAN  OR  FRENCH. 
xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Cream  satin  ground,  small  repeating  design  in  purple 
cut  and  uncut  velvet.    From  the  Fischbach  Collection. 

09.50.1322  12^  X  22  in. 

186  VELVET  BROCADE,  ITALIAN,    early  xvii  cen- 
tury. 

Gift  of  Leon  Hirsch,  191  i. 

Yellow  ground  with  design  of  small  motives  woven  in 
purple  velvet. 

1 1. 1 64  6  X  40  in. 

187  VELVET  BROCADE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Mulberry  satin  ground  with  set  pattern  of  scrolls  and 
bands  in  cut  and  uncut  pile. 

09.50.1323  17  X  21  in. 


BAROQUE  AND  ROCOCO 

XVII-XVin  CENTURY 

188  LINEN  DAMASK,  GERMAN   OR  AxUSTRIAN. 
xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  and  white  weave  showing  a  walled  city,  figures, 
and  crowned  eagles  with  inscriptions. 

09.50.1472  28  X  107  in. 


l8o     BROCADE,  SPANISH 
XVI  CENTURY 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO  5 1 

189  LINEN  DAMASK,  GERMAN   OR  AUSTRIAN. 

xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  and  white  damask  pattern  of  scriptural  subjects 
and  inscriptions. 

09.13.21  60  X  70  in. 

190  LINEN  DAMASK,  GERMAN,    xvm  century. 

Lent  by  Miss  Margaret  Taylor  Johnston,  1906. 
Blue  and  white  damask  pattern  of  the  Resurrection  and 
Jerusalem  with  inscriptions. 

33  x  106  in. 

191-197  DAMASK,  ITALIAN,    xviii  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  1915. 
Seven  large  hangings  of  green  silk  damask  with  bold 
design  of  floral  forms  and  scrolls. 
L.1474.477,  483-487,  489 

198  COSTUME,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1911. 

Dress  of  yellow  silk  ground  brocaded  with  stripes  of 
corded  white  and  small  floral  sprays. 
1 1.60.222 

199  COSTUME,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
Dress  of  white  silk  with  hand-painted  floral  sprays. 
L.1528.3 

200  COSTUME,  FRENCH,    xvm  century. 

Purchase,  Rogers  Fund,  191  i. 

Man's  coat  of  blue-gray  silk  brocaded  with  scrolls  and 
arabesques  in  gold  and  silver. 
II. 5 1.2 

201  COSTUME,  FRENCH,    xvm  century. 

Purchase,  Rogers  Fund,  191  i. 

Man's  coat  and  waistcoat  of  mauve  corded  silk  brocaded 
with  small  flower  pattern  in  white. 
11.51.4 


52  SPECIAL  EXHIBITION  OF  TEXTILES 

202  DAMASK,  FRENCH,    xvii-xviii  century. 

Purchase,  Rogers  Fund,  1914. 

Hanging  of  yellow  satin  damask  with  a  design  of  large 
branching  floral  scrolls. 

14.62.14  96  X  98  in. 

203  COSTUME,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
Dress  of  gray  silk  woven  in  stripes  brocaded  with  small 
floral  sprays  in  white. 
L.1528.6,7 

204  BROCADE,  FRENCH,    early  xviii  century. 

Purchase,  Rogers  Fund,  1908. 

Green  satin  ground  with  vertical  floral  design  and 
baroque  bands  in  gray  and  polychrome. 

08. 161. 4  41^  X  41^  in. 

205-206  BROCATELLE,  ITALIAN,  VENETIAN.  x\^ii 

CENTURY. 

Purchase,  Rogers  Fund,  1914. 

Hangings.  Yellow  ground  with  design  in  green.  Cen- 
tral vase  motive  with  formal  baroque  scrolls  and  floral 
forms.    From  the  Sagrado  Palace,  Venice. 

14.34  72  x  113  in. 

207  BROCADE,  ENGLISH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Gray  ground  with  design  in  lighter  shade.  Convention- 
alized floral  forms.    From  the  Fischbach  Collection. 
09.50.2487  20  X  24  in. 

208  COSTUME,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 

Dress  of  yellow  silk  brocaded  with  floral  sprays  with 
white  underspun  design. 
1 1. 66.221 

209  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Julian  Clarence  Levi,  19 15. 

Cover  edged  with  silver  lace.    Cream-colored  ground 


EUROPEAN  TEXTILES— BAROQUE  AND  ROCOCO  53 

with  block  design  of  landscape  motives,  combined  with 
bird  and  animal  forms  woven  in  metal  thread  and  neutral 
tints. 

L.1522.1  47  X  62  in. 

210  BROCADE,  ENGLISH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Similar  to  No.  206.    From  the  Fischbach  Collection. 

09.50.2524  igj^  X  24j^  in. 

211  COSTUME,  FRENCH,    xvm  century. 

Purchase,  Rogers  Fund,  191  i. 

Dress  of  corded  cream  silk  brocade  with  overspun  de- 
sign of  floral  sprays  in  colors. 
11.51.9 

212  VELVET  BROCADE,  ITALIAN,    xviii  century. 

Purchase^  Rogers  Fund,  1908. 

Green  velvet  ground  with  vertical  design  of  rose  sprays 
in  silver  and  color. 

08.109.12  36  X  48  in. 

213  BROCADE,  FRENCH,    xvm  century. 

Purchase,  Rogers  Fund,  1909. 

Cope  hood :  a  pinkish  mauve  satin  ground ;  vertical  floral 
design  brocaded  in  colors  w^ith  metal  thread.  From  the 
Fischbach  Collection. 

09.50.2619  1634  X  iGj/g  in- 

214  BROCADE,  FRENCH,    xvii-xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Yellowish  ground  with  large  foliate  pattern  in  crimson. 
From  the  Fischbach  Collection. 

09.50.2760  26  X  42  in, 

215  COSTUME,  FRENCH,    xvm  century. 

Purchase,  Rogers  Fund,  191  i. 

Man's  waistcoat  of  cream  satin  of  diaper  pattern,  bro- 
caded with  floral  design  in  red  and  gold. 
11.51.7 


54  SPECIAL  EXHIBITION  OF  TEXTILES 

216  COSTUME,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 

Man's   coat   and   waistcoat   of   cream-colored  velvet 
with  diaper  pattern  of  minute  rose  sprays. 
11.51.3 

217  VELVET  BROCADE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  1913. 

Mulberry  satin  ground  with  leafy  scrolls  in  cut  and 
uncut  velvet  pile  of  the  same  shade.  Set  motives  woven 
in  openwork. 

13.204.12  I2y2  X  21  in. 

218-219  DAMASK,  ITALIAN,    xvii  century. 
Purchase,  Rogers  Fund,  1913. 

Pair  of  hangings  in  green  satin  damask.  Bold  design  of 
foliated  scrolls.    From  the  Lydig  Collection. 

13.72.2.  B,  E;  13.73. 1  62  x  114  in. 

220  VELVET   BROCADE,   FRENCH,    xvii-xviii  cen- 
tury. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Gold  ground  with  pattern  in  crimson  cut  and  uncut 
pile.  Design  with  central  motive  derived  from  palmette 
framed  with  foliated  scrolls. 

L.  1460. 1 7  30  X  52  in. 

221  BROCATELLE,  ITALIAN,    late  xvii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
White  ground  with  bold  pattern  of  symmetrically  ar- 
ranged floral  forms  in  crimson. 

L.1453.7  61  X  1 19>^  in. 

222  VELVET   BROCADE,    FRENCH,    xvii-xviii  cen- 
tury. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 
Gold  ground  with  design  in  crimson  cut  and  uncut  pile. 
Balanced  design  of  ornate  scrolls  and  palmettes. 

L.1460  31  X  55^  in. 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO  55 


223-224  VELVET  BROCADE,  ITALIAN,  GENOESE. 

LATE  XVII  CENTURY. 

Gift  of  J.  Pierpont  Morgan,  1907. 

Pair  of  gilt  arm-chairs,  French,  period  of  Louis  XIV, 
upholstered  in  red  and  yellow  velvet  brocade  similar  to 
No.  221. 

225  COTTON  WEAVE,  GERMAN,    xvii  century. 
Purchase,  Rogers  Fund,  1909. 

Blue  ground,  bold  conventional  design  in  gray.  From 
the  Fischbach  Collection. 

09.50.924  22  X  43^  in. 


226  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Vertical  banded  design,  ground  alternately  pink  and 
yellow  with  damask  pattern  and  floral  arabesques  in  silver 
and  green.    From  the  Fischbach  Collection. 

09.50.2651  205^  X  3oj4  in. 

227  BROCADE,  FRENCH,    late  xvii  century. 

Gift  of  Henry  Golden  Dearth,  191 5. 
Salmon  pink  ground,  vertical  floral  design  in  silver  and 
pale  colors  between  serpentine  bands. 

15.140  205^x42^  in. 


228  BROCATELLE,  ITALIAN,    late  xviii  century. 
Purchase,  Rogers  Fund,  1915. 

Woven  in  dull  red  and  tan,  originally  with  gilt.  Large 
central  motive  of  conventionalized  floral  form  with  foliated 
scrolls. 

15. 125.9  26  X  42  in. 


229  BROCADE,  ITALIAN  (VENICE),    xviii  century. 
Purchase,  Rogers  Fund,  191 5. 

Vertical  bands,  ground  alternately  silver  and  gold.  All- 
over  floral  design  in  red  and  colors. 

08.64.3  18  X  40  in. 


56  SPECIAL  EXHIBITION  OF  TEXTILES 

230  BROCADE,  FRENCH,    early  xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  satin  ground ;  formal  flower  and  urn  design  in  gray, 
framed  in  baroque  bands.    From  the  Fischbach  Collection. 
09.50.916  19  X  27  in. 

231  BROCADE,    ITALIAN,    VENETIAN,    xviii  cen- 
tury. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 
Blue  satin  ground  with  a  confused  design  of  closely- 
placed  rococo  scrolls  and  floral  motives  in  pink  and  silver. 
L.  1460.27  42>^  x  62^4  in. 

232  BROCADE,  FRENCH,    middle  of  xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Square  of  yellow  silk  brocaded  with  floral  sprays  in 
color.    From  the  Fischbach  Collection. 

09.50  24  X  24  in. 

233  WOOL      VELVET,  NETHERLANDISH 
(UTRECHT?).    EARLY  xviii  century. 

Gift  of  J.  Pierpont  Morgan,  1907. 
Arm-chair,  eastern  French,  Liege  (?),  upholstered  in 
brocaded  wool  velvet,  greenish  tan  in  color,  bold  design. 

234-235  LAMPAS,  FRENCH,    late  xviii  century. 
Purchase,  Rogers  Fund,  1909. 

Light  blue  satin  ground,  design  in  cream  color;  foliated 
scrolls  springing  from  symmetrically  placed  urns  supported 
by  seated  figures,  amorini,  and  grifiins. 

09.194.29  44  x  105  in. 

236  BROCADE,    ITALIAN,   VENETIAN,    xviii  cen- 
tury. 

Purchase,  Rogers  Fund,  191 5. 

Tan  ground  of  satin  damask  richly  brocaded  in  silver 
and  touches  of  green  and  pink. 

15.52.3  39  X  Soy2  in. 


230  BROCADE,  FRENCH 
KARLY  XVIII  CENTURY 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO 


57 


237  WOOL  WEAVE,  FRENCH  OR  FLEMISH,  first 

HALF  OF  XVIII  CENTURY. 

Gift  of  J.  Pierpont  Morgan,  1907. 

Arm-chair,  period  of  Louis  XV,  upholstered  in  heavy 
wool  and  cotton  velvet,  of  bold  design  in  low  white  and 
two  shades  of  blue.  Much  worn.  From  the  Hoentschel 
Collection. 

238  BROCADE,  ITALIAN  (?).    xviii  century. 

Purchase,  Rogers  Fund,  191 5. 

Blue  satin  damask  ground  w^ith  rococo  ornaments  and 
floral  sprays  in  gold  and  color. 

15.52.2  4i>^  X  61  in. 

239  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Yellow^  corded  silk  ground  with  bold  floral  design  in 
silver  with  touches  of  pale  color.  From  the  Fischbach 
Collection. 

09.50.1350  2i>^  X  21^  in.  - 

240  BROCATELLE,  FRENCH,    xviii  century. 

Gift  of  J.  Pierpont  Morgan,  1907. 

Arm-chair,  period  of  Louis  XV,  upholstered  in  broc- 
atelle  with  a  large  damask  pattern  in  yellow  and  tan. 
From  the  Hoentschel  Collection. 

241  BROCADE,  FRENCH  OR  SPANISH,    xviii  cen- 


PuRCHASE,  Rogers  Fund,  1907. 

Blue  satin  ground,  brocaded  in  the  same  color  with 
details.  Embroidered  in  gold  thread,  individual  motives, 
a  castle,  unicorn,  and  floral  sprays,  evenly  distributed. 


242  BROCADE,    ITALIAN,    VENETIAN,    xviii  cen- 


PuRCHASE,  Rogers  Fund,  191 5. 

Blue  ground  of  satin  damask  with  rococo  design  in  gold 
and  silver  overspun  with  floral  sprays  in  bright  colors. 


tury. 


07.62.81 


II  X  25^  in. 


TURY. 


15.52.4 


38  X  51  in. 


58  SPECIAL  EXHIBITION  OF  TEXTILES 

243  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Julian  Clarence  Levi,  191 5. 

Blue  ground  with  small  overspun  motive  in  the  same 
shade.  The  design,  a  shaped  balustrade  supporting  a  floral 
vase,  parrot,  and  cage,  is  woven  in  bright  colors. 

L.1522.3  14  X  28  in. 

244  BROCADE,  ITALIAN,  VENETIAN,    first  half 
of  xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 

Blue  ground  with  baroque  design  in  dull  pink  and 
gold. 

L.1453.15  26  X  27  in. 

245  BROCADE,    ITALIAN,   VENETIAN,    xviii  cen- 
tury. 

Lent  by  H.  Oothout  Milliken,  191 5. 
Green  satin  ground  alternating  with  narrow  cream 
stripes,  damask  pattern,  floral  design  in  ecru  and  silver. 
L.1538.1  41  X  42  in. 

246  BROCADE,  ITALIAN,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
Dull  pink  ground  with  vertical  floral  pattern  in  gold 
and  colors. 

L.1453  38  X  48  in. 

247  BROCADE,  ENGLISH  (?).    xviii  century. 

Purchase,  Rogers  Fund,  1913. 

Black  satin  ground,  floral  and  animal  design  in  gray 
and  polychrome. 

13.204.18  12  X  i^Yi  in. 

248  BROCATELLE,  FRENCH,    early  xviii  century. 

Gift  of  J.  Pierpont  Morgan,  1906. 
Cream  ground,  formal  floral  design  and  leaf  scrolls  in 
crimson  with  touches  of  blue  green  and  yellow. 

06.946  24  X  39  in. 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO  59 

249  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Cream  satin  ground,  bold  floral  design  in  colors.  From 
the  Fischbach  Collection. 

09.50.2508  20  X  20>4  in. 

250  BROCADE,  ITALIAN,    xviii  century. 

Lent  by  Mrs.  Edward  Robinson,  191 5. 

Hanging  of  cream  ground  with  serpentine  lanceolate 
leaf  motive  in  gold  and  delicate  colors.  Underspun  pat- 
tern in  silver. 

L.I 542.4  44^  X  118  in. 

251  BROCADE,  FRENCH,    xviii  century. 

Gift  of  J.  Pierpont  Morgan,  1909. 
Stool,  upholstered  in  silk  stuff  of  flower  and  fruit  pat- 
tern in  light  colors.    From  the  Hoentschel  Collection. 

252  JARDINIERE   VELVET,   ITALIAN,  GENOESE, 

EARLY  xviii  CENTURY. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  191 5. 

Ecru  satin  ground  with  a  symmetrical  design  of  branch- 
ing floral  forms  and  leaves  in  green  and  polychrome. 
Genoa  was  famous  for  velvets  of  this  type  during  the 
seventeenth  and  eighteenth  centuries. 

L.1474.299  23  x  38^4  in. 

253  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Cream  silk  ground  with  overspun  design.    Lattice  and 
flower  design  in  colors.    From  the  Fischbach  Collection. 
09.50.2503  20j<2  X  22^  in. 

254  VELVET  BROCADE,  FRENCH,    xviii  century. 

Gift  of  J.  Pierpont  Morgan,  1907. 

Arm-chair,  period  of  Louis  XV,  upholstered  in  red  silk 
velvet,  boldly  brocaded.  From  the  Hoentschel  Collec- 
tion. 


6o  SPECIAL  EXHIBITION  OF  TEXTILES 

255  CHASUBLE,  ITALIAN,    xvii  century. 

Purchase,  Rogers  Fund,  1908. 

Red  ground  with  pattern  of  conventionalized  wheat 
heads  in  ecru. 

08.161.3  31  X  47  in. 

256  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1913. 

Cream  corded  silk  ground  with  overspun  design  in  gold 
and  colors  of  naturalistic  blossoming  trees. 

13.204.62  42 >4  X  82  in. 

257  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

White  corded  silk  ground  with  overspun  design.  Floral 
sprays  in  color.    From  the  Fischbach  Collection. 

09.50.2526  22  X  24  in. 

258  BROCADE,  FRENCH,    early  xviii  century. 

Lent  by  Bashford  Dean,  191 5. 
Fragment ;  bold  design  of  pointed  leaves  woven  in  silver 
and  red. 

L.1517.1  7j^  X  26J/2  in. 

259  COSTUME,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
Dress  of  white  silk  brocade,  serpentine  bands  with  floral 
sprays  in  gold  and  bright  colors.    Trimmed  with  gold  lace. 
L.1528.4,  10 

260  COSTUME,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 

Waistcoat  of  gray  corded  silk  with  underspun  design. 
Brocaded  with  large  floral  pattern  in  gold  and  silver. 
II. 51.6 

261  BROCADE,  FRENCH,    xviii  century. 

Lent  by  V.  Everit  Macy,  1910. 

Cope,  cream  corded  silk  ground  with  damask  pattern.  De- 
signs of  circles  and  floral  sprays  in  gold,  silver,  and  colors. 
L.631.2  53  X  116  in. 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO  6 1 

262  BROCADE,  ITALIAN,    xviii  century. 

Purchase,  Rogers  Fund,  1912. 

Dull  pink  ground  brocaded  in  silver  and  touches  of 

color.    Design  of  angels  playing  musical  instruments. 

12.55.3  15  X  i8>4  in. 

263  BROCADE,  ITALIAN  OR  SPANISH,    xviii  cen- 
tury. 

Lent  by  Mrs.  Edward  Robinson,  191 5. 
Dull  green  ground  with  naturalistic  floral  pattern  in 
gold,  silver,  yellow,  and  other  colors. 

L.1542.1  59  x  84  in. 

264  BROCADE,  FRENCH  OR  SPANISH,    xviii  cen- 
tury. 

Purchase,  Rogers  Fund,  1907. 

Apricot   satin   ground,   with   overspun   floral  design. 
Birds,  dogs,  and  flower  motive  brocaded  in  gold  thread. 
07.62.80  II  X  19  in. 

265  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  1914. 

Dalmatic,  yellow  corded  silk  ground  with  formal  floral 
leaf  design  in  silver,  framed  in  bands  of  arabesques  edged 
with  lace  designs. 

L.1453.190  38  X  82  in. 

266  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  1914. 

Chasuble;  yellow  corded  silk  ground  with  formal  floral 
leaf  design  in  silver,  framed  in  bands  of  floral  arabesques 
edged  with  lace  designs, 

L.1453.20  41  X  106^  in. 

267  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Edward  Robinson,  191 5. 
Gold  ground  with  overspun  pattern  and  small  floral 
sprays  in  color. 

L.1542.2  10x35  in. 


62  SPECIAL  EXHIBITION  OF  TEXTILES 

268  BROCADE,  FRENCH,    xviii  century. 

Lent  by  V.  Everit  Macy,  19 10. 

Cope.  Cream-colored  silk  damask  ground  with  design 
of  vertical  serpentine  bands  and  floral  sprays  in  gold  and 
colors. 

L.631.1  57  X  113  in. 

269  COSTUME,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 

Man's  waistcoat  of  corded  blue  silk  with  white  stripes^ 
brocaded  with  floral  sprays  in  bright  colors  and  silver. 
II. 51.8 

270  COSTUME,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 

Dress  of  blue  silk  woven  in  stripes,  brocaded  with  a 
pattern  of  floral  sprays  and  serpentine  lacy  bands  in  poly- 
chrome and  silver. 

L.1528.5 

271  BROCADE,  FRENCH  (?).    xviii  century. 

Lent  by  H.  Oothout  Milliken,  191 5. 
Dark  blue  ground  with  conventionalized  floral  forms, 
rather  Chinese  in  character,  in  metal  thread. 

L.1538.2  24  X  26  in. 

272  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1913. 

White  corded  silk  ground  with  overspun  design  in 
satin,  all-over  design  of  floral  arabesques  in  gold. 

13.204.38  20  X  21  in» 

273  BROCADE,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Corded  gray  ground  brocaded  with  flowers  in  silver  and 
colors.    From  the  Fischbach  Collection. 

09.50.2552  20>^  X  30  in. 

274  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 
Dress  of  white  silk  brocaded  with  floral  bouquets  in 


EUROPEAN  TEXTILES  BAROQUE  AND  ROCOCO  63 

bright  colors.  This  costume  appears  to  have  been  made 
in  the  first  half  of  the  nineteenth  century  from  old  ma- 
terial. 

L.1528.8,9 

275  BROCADE,  FRENCH,    xviii  century. 

Lent  by  Mrs.  Archibald  G.  Thomson,  191 5. 

Dress  of  yellow  satin  brocaded  in  white,  with  floral 
sprays  in  bright  colors.  This  costume  appears  to  have  been 
made  in  the  first  half  of  the  nineteenth  century  from  old 
material. 

L.1528.2 

276  DAMASK,  FRENCH,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

White  satin  ground  with  damask  arabesque  pattern. 
Floral  motives  in  gold,  pink,  and  green.  From  the  Fisch- 
bach  Collection. 

09.50.2511  19  X  23  in. 

277  COURT  COSTUME,  RUSSIAN,    xix  century. 

Purchase,  Rogers  Fund,  191  i. 

Cloth  of  silver  brocaded  with  large  floral  and  fruit  pat- 
terns in  bright  colors  and  gold,  in  the  style  of  Louis  XV. 
II. 50.10 

278  CHILD'S  COSTUME,  ITALIAN,    xvii  century. 

Gift  of  P.  W.  French  and  Co.,  191 5. 
Purple  satin  ground,  brocaded  with  lattice  design  of  in- 
tersecting ogival  form  in  gold. 

15. 60.1-2  29>4x3i^  in. 

279  SATIN  DAMASK,  ITALIAN,    xviii  century. 

Purchase,  Rogers  Fund,  19 14. 

Woven  in  crimson  with  a  bold  design  of  foliated  scrolls. 
14.62.16  81  X  100  in. 


111.    NEAR  EASTERN  TEXTILES 


THROUGHOUT  the  Christian  era  the  surpassing  ex- 
cellence of  the  woven  stuffs  produced  in  those  Asiatic 
regions  termed  the  Near  East,  has  been  proverbial 
among  European  peoples.  The  skill  of  the  Oriental  weavers, 
however,  long  antedates  the  beginning  of  the  Christian  faith; 
for  the  Babylonian  and  Assyrian  kings  hung  the  walls  of  their 
mud-built  palaces  with  woven  stuffs  of  great  splendor,  and 
dressed  themselves,  as  has  already  been  said,  in  richly  orna- 
mented garments.  A  region  so  skilled  in  the  use  of  the  loom 
could  not  wholly  forget  the  art,  no  matter  what  political  changes 
and  invasions  of  other  races  time  might  bring  about,  and  from 
the  beginning  of  history  down  to  the  present  day  mastery  of 
weaving  has  remained  a  permanent  possession  of  the  countries 
centering  about  the  Tigris  and  Euphrates. 

The  first  great  phase  of  that  eastern  weaving  to  leave  a  direct 
imprint  on  the  textile  art  of  Europe  took  place  under  the  Sas- 
sanian  Empire  between  the  third  and  sixth  centuries  of  our  era, 
when  Sassanian  stuffs  were  exported  in  quantities  to  Rome, 
where  they  were  prized  to  such  an  extent  that  the  busy  looms 
at  Alexandria  are  thought  by  some  to  have  taken  to  copying  the 
Oriental  models  in  order  to  supply  the  demand  of  the  luxurious 
and  decaying  Mediterranean  civilization.  Later,  with  the  rise 
of  Persia  as  a  nation,  Iranian  stuffs  supplied  motives  and  de- 
signs to  Byzantine  weavers,  as  is  stated  in  Chapter  I,  while  the 
actual  materials  made  in  the  Moslem  East  during  the  time  of 

64 


NEAR  EASTERN  TEXTILES  65 

Romanesque  art  in  Europe  penetrated  to  most  distant  regions, 
where  such  stuffs  were  considered  almost  as  precious  as  the 
sacred  relics  of  which  they  formed  the  wrappings. 

Many  pieces  of  these  fabrics  have  been  preserved  to  us  as 
vestments  and  relic  veils,  and  are  included  in  the  treasures  of 
great  cathedrals  such  as  Vich  in  Spain  and  Sens  in  France,  while 
others  have  been  taken  from  the  bodies  of  dead  priests  and 
saints,  which  later  generations  have  not  hesitated  to  unbury. 
Some  of  these  rare  and  valuable  old  Persian  stuffs  are  included 
in  this  exhibition  as  loans  from  Cooper  Union,  which  has  other 
and  still  finer  examples  than  are  shown  here.  However,  the 
great  majority  of  Near  Eastern  textiles  now  displayed  were 
made  after  the  later  part  of  the  fifteenth  century,  a  period  which 
marks  one  of  the  first  divisions  of  the  Near  Eastern  arts  into 
the  various  national  styles  which  were  closely  followed  out  for 
the  next  three  hundred  years,  until  the  final  decay  of  native 
crafts  two  generations  ago. 

At  this  time  the  art  of  India,  which  for  reasons  of  arrange- 
ment is  placed  first  in  this  division  of  the  catalogue,  had  not  yet 
made  an  impression  on  the  outside  world,  and  it  is  only  from  the 
later  half  of  the  sixteenth  century  through  the  seventeenth  that 
Indian  weaving  won  a  high  place  for  itself  as  of  international 
importance.  At  the  beginning  of  this  period  Persian  influence 
was  paramount  and  Indian  stuffs  were  not  strongly  national, 
but  under  the  Moghul  sovereigns  the  imperial  looms  at  Lahore 
began  to  produce  rugs  and  velvets  of  individual  design  and  re- 
markable workmanship.  In  texture,  Indian  weavings  of  this 
period  are  superb,  and  nothing  can  exceed  the  soft  perfection 
of  the  two  velvets  lent,  one  by  Mr.  George  Blumenthal,  the 
other  by  Mr.  Mortimer  L.  Schiff.  They  are  both  made  in  bor- 
dered designs  similar  to  those  of  rugs  and  were  probably  in- 
tended either  as  hangings  or  as  superfine  state  carpets  to  be 
looked  at  and  not  walked  upon.  The  exhibition  includes  a 
number  of  the  gold  brocades  and  figured  veilings  still  produced 
in  India,  with  a  quality  found  only  in  a  living  art  jealous  of  its 
traditions.    The  gold  sari,  or  woman's  garment,  of  nineteenth- 


66 


SPECIAL  EXHIBITION  OF  TEXTILES 


century  workmanship,  lent  by  Mr.  Robert  W.  de  Forest,  is  a 
particularly  good  example  of  the  type. 

Persian  weaving,  which  follows  Indian  in  the  arrangemient  of 
the  exhibition,  was,  as  has  been  said,  of  earlier  importance  in 
its  relation  to  the  western  world.  The  older  textile  designs  of 
fully  developed  Persian  art  show  a  happy  combination  of  Chinese 
irregularity  of  pattern  with  ancient  Sassanian  motives  taken 
from  the  chase,  worked  out  with  an  imaginative  quality  and  a 
poetic  grace  which  are  the  peculiar  attributes  of  Persian  design. 
These  so-called  hunting  or  garden  brocades,  where  human  fig- 
ures, animals,  trees,  and  flowers  make  up  the  charming  pattern, 
are  represented  in  the  exhibition  by  a  remarkable  group,  coming 
partly  from  Cooper  Union  and  partly  from  the  permanent  col- 
lection of  the  Museum.  More  conventionally  patterned  gold 
and  silver  brocades  of  the  same  period — the  sixteenth  century — 
are  also  shown  in  considerable  number;  while  the  velvets,  es- 
pecially the  cope  belonging  to  the  Museum  and  the  chasuble 
from  Pratt  Institute,  illustrate  the  achievements  of  Persian 
weavers  in  this  technique. 

A  region  where  Persian  influence  has  always  been  the  vitaliz- 
ing force  among  the  arts  is  Asia  Minor,  or  Anatolia,  with  which 
Syria  is  often  grouped.  From  the  time  of  the  Crusaders  it  has 
been  famous  as  the  source  of  splendid  stuffs;  the  word  damask 
is  derived  from  Damascus,  whence  all  especially  rich  materials 
were  thought  to  come,  just  as  the  word  muslin,  from  Mosul,  in 
Mesopotamia,  grew  to  mean  a  particularly  fine-woven  kind  of 
fabric.  The  fine  Asia  Minor  brocades  in  which  red  and  gold 
play  so  prominent  a  part,  differ  from  contemporary  Persian 
stuffs  in  design  and  color  rather  than  texture.  They,  like  the 
familiar  "Rhodian"  faience  of  the  region,  show  a  varied  com- 
bination of  a  few  motives,  of  which  the  tulip,  eglantine, 
hyacinth,  and  pink  are  the  chief  elements.  Human  figures  and 
animals  are  not  used,  in  obedience  to  strict  interpretation  of 
Islamic  law,  and  such  stuffs  are  often  grouped  under  the  name 
Ottoman,  as  the  most  typical  and  direct  productions  of  Moham- 
medan rule  at  Constantinople.    The  magnificent  velvets  of  the 


NEAR  EASTERN  TEXTILES  67 

region,  which  rank  among  the  chefs  d'oeuvre  of  design,  were 
exported  to  Europe  in  great  quantities  from  the  end  of  the 
fifteenth  century.  They  were  used  for  garments,  vestments, 
and  hangings,  and  Italian  artists  of  the  time  painted  such  stuffs 
over  and  over  as  a  most  decorative  feature  of  their  pictures. 
Similar  materials  were  probably  made  in  North  Italy  and  the 
question  as  to  whether  certain  patterns  are  of  Venetian  or 
Anatolian  w^eave  is  probably  unanswerable.  The  manufacture 
of  these  velvets  in  Asia  Minor  centered  at  Scutari,  although 
there  were  other  active  looms  in  the  region ;  while  gold  brocades 
are  oftenest  described  as  being  made  at  Broussa  and  Damascus, 
although  these,  too,  were  woven  elsewhere  as  well.  The  group 
of  Asia  Minor  velvets  shown  in  the  exhibition  is  very  excep- 
tional and  comprises  three  collections,  besides  that  of  the 
Museum — those  of  Mrs.  Charles  T.  Barney,  Pratt  Institute, 
and  the  late  Theodore  M.  Davis. 

Another  strain  of  Mohammedan  civilization,  the  history  of 
which  is  most  interesting  to  follow^  began  with  the  invasion  of 
Christian  Egypt  by  the  Arabs  in  the  eighth  century  of  our  era. 
From  there  the  conquerors,  amalgamated  with  the  Berbers  under 
the  name  of  Moors,  passed  to  northwestern  Africa,  whence  they 
crossed  to  Spain  and  established  the  civilization  known  as  His- 
pano-Moresque,  which  continued  until  the  fall  of  Granada  in 
the  fifteenth  century.  Here  the  Prophet's  strictures  against  the 
representation  of  living  things  were  strictly  observed,  and  His- 
pano-Moresque  weaving  shows  the  same  general  geometrical 
character  found  in  Cairo  work  and  in  that  w^hich  the  kindred 
Saracens  produced  in  Sicily.  Moorish  bands,  stars,  and  inter- 
lacings  were  woven  with  wonderful  fineness  and  are  still  con- 
tinued in  their  traditional  arrangement  by  North  African 
tribesmen  of  today.  The  influence  of  such  patterns  on  Spanish 
art  is  obvious,  both  in  the  love  of  intricate  design,  found  in  so 
much  later  Spanish  weaving,  and  in  the  prodigal  use  of  rather 
harsh  colors,  among  which  red  and  yellow  figure  prominently. 
The  exhibition  contains  a  number  of  early  fragments  and  larger 
specimens  of  somew^hat  later  Hispano-Moresque  weaving,  the 


68 


SPECIAL  EXHIBITION  OF  TEXTILES 


more  important  being  several  very  old  pieces  from  Cooper 
Union. 

The  penetrative  force  of  Near  Eastern  art  is  shown  by  the 
two  Polish  sashes  displayed  side  by  side  with  a  very  similar 
Persian  specimen.  The  soft-colored  and  luxurious  weaves  of 
seventeenth-century  Persia  and  India  were  highly  valued  in 
Poland,  as  is  shown  by  the  so-called  Polish  carpets,  which, 
though  really  of  Oriental  manufacture,  were  long  thought  to 
be  Slavonic  in  origin  because  of  the  numbers  found  in  Poland. 
Sashes  such  as  the  Slav  noblemen  used  for  girdles  were  brought 
from  the  East  and  later  in  the  eighteenth  century  were  pro- 
duced in  Europe,  both  by  imported  Oriental  workmen  and  by 
native  weavers.  If  many  of  these  sashes  were  not  signed  in  the 
border  with  the  names  of  the  makers,  Pascalis  or  Sluck,  they 
might  be  mistaken  for  the  Indo-Persian  girdles  represented  in 
portrait  miniatures  of  Indian  princes,  specimens  of  which  are  in 
the  Alexander  Smith  Cochran  Collection.  The  Museum  owns 
a  dozen  or  more  of  these  Polish  and  Russian  sashes,  but  because 
of  their  similarity  they  are  not  exhibited  at  this  time. 


INDIAN 

280  VELVET,  INDIAN.  1600-1650. 

Lent  by  Mortimer  L.  Schiff,  1915. 

Hanging  in  design  of  prayer  rug.  Gray-brown  field 
with  green  border  between  two  narrow  bands  of  red.  Con- 
ventionalized floral  sprays  in  dull  colors. 

Medallion  with  inscription:  Subhani  Rabbi  el  Ala  bi 
hamdihi — Praise  to  my  God  the  Most  High  and  Exalted. 

L.1524  39x57  in. 

281  PRAYER  RUG,  INDIAN.  1600-1650. 

Lent  by  George  Blumenthal,  191 5. 

Crimson  ground  with  bordered  rug  pattern  of  foliated 
scrolls  and  corner  quadrants  woven  in  shades  of  green  and 
tan. 

L.I 530.2  ,  61  x  96  in. 


NEAR  EASTERN  TEXTILES  INDIAN 


69 


282  GOLD  BROCADE,  INDIAN,    xviii-xix  century. 

Lent  by  Robert  W.  de  Forest,  191 5. 

Sari.  Gold  ground  with  design  in  blue,  green,  red,  and 
silver;  central  lattice  field  with  border  of  peacocks  in 
medallions  between  floral  bands;  end  borders.  The  sari 
is  the  outer  robe  worn  by  Indian  women. 

L.1535  70  X  139  in. 

283  GOLD  BROCADE,  INDIAN,    xix  century. 

Purchase,  Kennedy  Fund,  19 15. 

Jama  or  full-dress  coat.  Gold  ground  with  small  diaper 
pattern  outlined  in  red.  This  fabric  is  often  termed  ''kin- 
cob." 

15.95.142  Length,  53^^  in. 

284  BROCADE,  INDIAN,    xix  century. 

Purchase,  Kennedy  Fund,  191 5. 

Coat.  Ground  of  purple-red  silk  with  palmettes  and 
smaller  motives  woven  in  gold. 

15. 95. 141  Length,  51  in. 


285  BROCADE,  INDIAN,   xvii  century. 
Purchase,  Rogers  Fund,  1908. 

Cover  with  border.    Cloth  of  silver  woven  in  red  and 
blue,  spiral  tracery  with  delicate  floral  forms. 

08. 109. 1 1  25  X  54  in. 


PERSIAN 

286  SATIN    BROCADE,    PERSIA,    POSSIBLY  ASIA 
minor.   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Crimson  satin  ground  powdered  with  gold  crescents  in 
groups  of  three,  inclosing  three  balls.  The  crescents, 
wrought  in  gold,  are  charged  with  a  floral  variant  of  the 
Chinese  cloud  motive  in  blue. 

cf.  Coll.  Kel.,  pi.  28  (i). 

08.109.2  10x37^  in. 


70 


SPECIAL  EXHIBITION  OF  TEXTILES 


287  SILK  BROCADE,  PERSIAN,   xvi  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Woven  in  red  and  white  with  a  figural  design  illustrat- 
ing a  favorite  romance  of  Persian  poets,  the  Princess  Laila 
and  the  Poet  Majnun,  the  Romeo  and  Juliet  of  eastern 
poetry.    The  scene  portrays  the  meeting  of  the  lovers  in 
the  desert,  where  the  Princess,  searching  for  Majnun, 
finds  him  exhausted  by  the  wayside,  an  episode  described 
by  Hatifi,  the  Persian  poet,  in  the  following  lines: 
"So  wasted,  worn,  and  changed  with  care 
His  mind  a  void,  him.self  forgot, 
The  hapless  victim  of  despair — 
Even  she,  the  True  One,  knew  him  not." 
Ill,  Badia  Coll.,  pi.  IV,  141  ;  cf.  Errera,  No.  264;  Mar- 
tin, Figurale  persische  Stoffe,  pi.  VII. 

L.1533.29  I2>^  X  13  in. 

288  BROCADE,  PERSIAN,   xvi  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Black  ground  with  figural  design  wwen  in  dull  shades 
of  yellow  and  tan.  Illustration  of  a  verse  from  the  same 
romance,  referring  to  the  return  of  Laila.  The  verse 
reads: 

"When  the  camel  driver  carries  Laila  away  from  Hai, 
who  can  restrain  Majnun  from  following  her?" 

The  lettering  on  the  camel's  trappings  reads:  the  upper 
one,  Mashallah,  May  God  bless;  the  lower,  Mashallah 
Ziyaret:  God  bless  the  visit. 

The  drawing  is  in  the  style  of  the  Persian  miniature 
painters  of  the  School  of  Sultan  Muhammad,  pupil  of  the 
master  Behzad,  who  lived  in  the  first  half  of  the  sixteenth 
century. 

L.1533.17  II  x25>^  in. 

289  BROCADE,  PERSIAN,    xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Yellow  satin  ground  with  design  of  figures,  animals, 
birds,  cypress  trees,  and  branches  of  plum  blossoms  in  dull 
shades  of  blue,  green,  and  red,  outlined  with  pink. 


308      BROCADE,  PERSIAN 
XVTI  CENTURY 


287      SILK   BROCADE,  PERSIAN 
XVI  CENTURY 

Lent  by  the  Museum  for  the  Arts  of  Decoration  at  Cooper 

Union 


NEAR  EASTERN  TEXTILES  PERSIAN  7  I 

Exhibited  in  the  Paterson  Historical  Exhibition  of  Tex- 
tiles, 191 5. 

A  brocade  of  this  pattern  was  shown  in  the  Munich  Ex- 
hibition of  Mohammedan  Art,  in  1910. 

111.  Muhammedanischer  Kunst,  pi.  199,  and  Coll.  Kel., 
pi.  27. 

08.109.3  143^  X  40  in. 

290  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Black  satin  ground  with  figure  design  of  turbaned  men 
with  game,  woven  in  tan  and  dull  pink. 
111.  Coll.  Kel.,  pi.  25. 

08.109.17  13  X  16  in. 

291  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1909. 

Fragment  of  green  brocade  with  figural  design  in  tan. 
09.225.3  5^^x714  in. 

292  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1909. 

Fragment  of  green  satin  brocade  with  design  of  writh- 
ing dragons  in  white,  outlined  with  black,  derived  from  a 
Chinese  original. 

cf.  Von  Falke,  No.  613;  Martin,  Figurale  persische 
Stoffe,  pi.  VI. 

09.225.1  5  X  9^^  in. 

293  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1909. 

Fragment  of  figural  stuff  with  border.  Tan  ground 
with  design  in  green,  red,  and  blue. 

09.225.2  5x7  in. 

294  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Gold  ground  with  a  design  in  dull  tones  of  warring 
birds  and  beasts  alternating  with  parrots  on  floral  sprays. 
08.109.19  4%  X  6  in. 


72  SPECIAL  EXHIBITION  OF  TEXTILES 

295  BROCADE,  PERSIAN,   xvi  century. 
Purchase,  Rogers  Fund,  1908. 

Fragment  of  figural  stuff  woven  in  yellow  and  tan  with 
design  outlined  in  black.  Two  figures,  musicians.  In- 
scription: ''Abdullah  the  servant  of  God." 

08.109.18  6x7  in. 


296  BROCADE,  PERSIAN,   xvi  century. 
Purchase,  Rogers  Fund,  1909. 

Fragment.    Crimson  ground  with  medallion  and  two 
figures,  one  offering  a  dish  of  fruit. 

cf.  Martin,  Persische  Prachtstoffe,  Fig.  6. 

09.225.4  X  7  in. 


297  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1906. 

Two  fragments.  Gray  satin  ground  with  design  of 
figures  and  blossoming  plum  branches.  Slave  offering 
dish  of  fruit  to  figure  robed  in  blue. 

06.1 197. 1-2  x  7  in. 

298  VELVET  BROCADE,  PERSIAN  (?).    xv-xvi  cen- 
tury. 

Lent  by  Pratt  Institute  of  Brooklyn,  19 15. 

Front  half  of  a  chasuble.  Yellow  ground  with  surface 
thread  of  gold.  Floral  design  in  black  velvet,  the  centers 
of  the  flowers  in  silver.  The  floral  motive  suggests  the 
influence  of  a  Chinese  model. 

L.I 53 1. 1  26J/2  X  54  in. 

299  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1907. 

Whitish  silk  ground  with  a  graceful  pattern  of  indi- 
vidual plant  motives  wrought  in  silver  and  gold,  with 
touches  of  green  and  gold  silk. 

07.62.71  7>^  X  17  in. 

300  VELVET,  PERSIAN,    xvi  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 


BROCADE,  PERSIAN 
XV^I  CENTURY 


NEAR  EASTERN  TEXTILES- 


PERSIAN 


73 


Blue  ground  with  floral  sprays  in  tan  and  white.  A 
similar  piece  in  the  Museum  collection. 

Coll.  Badia,  No.  277.    cf.  Lessing,  pi.  16,  No.  3. 


301  BROCADE,  PERSIAN,   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Purple  ground  with  device  in  green  and  gold.  The 
pattern  has  a  central  stalk  with  compactly  arranged  leaves 
and  buds  branching  horizontally  from  either  side. 

Cox,  pi.  33,  I. 

08.109.13  1 1  X  22  in. 

302  VELVET  BROCADE,  PERSIAN,    xvi  century. 

Purchase,  Rogers  Fund,  1912. 

Tan  ground  with  a  vertical  pattern  of  conventional- 
ized plant  forms  in  browns  and  greens,  with  details  in 
gold  and  silver,  outlined  in  black. 

12.72.5  27  X  45  in. 


303  BROCADE,  PERSIAN,  POSSIBLY  ASIA  MINOR. 


xvi  century. 

Purchase^  Rogers  Fund,  191 5. 

Dark  blue  satin  ground  with  design  in  gold.  A  re- 
versed arrangement  of  conventionalized  tulip  forms  and 
lanceolate  leaves  which  spring  from  the  base  of  the  tulip 
at  an  acute  angle,  dividing  the  pattern  into  horizontal 
bands. 


304  VELVET  BROCADE,  PERSIAN,    xvi  century. 
Purchase^  Hewitt  Fund,  191  i. 

Cloth  of  gold  with  design  of  formal  floral  sprays,  birds, 
and  butterflies  in  tan,  red,  and  blue,  outlined  with  indigo 
and  woven  in  cut  pile. 

cf.  Von  Falke,  No.  611. 

11.134.1  13%  X  14^  in. 


L.1533.5 


7x8  in. 


cf.  Coll.  KeL,  pi.  50,  No.  2. 
15. 125. 2 


175^  X  2i>4  in. 


74  SPECIAL  EXHIBITION  OF  TEXTILES 

305  FRAGMENT  OF  RUG,  PERSIAN  (HERAT),  xvi 

CENTURY. 

Lent  by  Dr.  Denman  W.  Ross,  191 5. 

Design  of  palmettes  in  colors  on  a  tan  ground.  Ex- 
hibited in  the  Paterson  Historical  Exhibition  of  Textiles, 
1915. 

L.1524.4  I4>^  in. 

306  COPE,   VELVET   BROCADE,   PERSIAN.  first 
quarter  of  xvii  century. 

Purchase,  Rogers  Fund,  1914. 

Cloth  of  gold  with  pattern  of  floral  sprays  in  high 
velvet  pile  woven  in  rich  tones  of  brown  and  gray,  with 
touches  of  blue-green  and  yellow.  The  pattern  outlined 
in  indigo. 

A  companion  piece  to  this  was  exhibited  in  the  Munich 
Exhibition  of  Mohammedan  Art,  19 10. 

111.  Sarre  and  Martin,  Meister.  Muhammed.  Kunst, 
vol.  3,  pi.  202.  cf.  Bulletin,  M.  M.  A.,  vol.  IX,  1914, 
p.  147- 

14.67  Length,  54  in. 

307  BROCADE,  PERSIAN,    early  xvii  century. 

Purchase,  Rogers  Fund,  191 5. 

Gold  ground  with  a  set  pattern  of  blossoming  plant 
forms,  woven  in  pink  and  green.  Showing  Indian  in- 
fluence. 

cf.  Coll.  KeL,  pi.  65,  No.  3. 

15. 126.4  22^  x  54  in. 

308  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1910. 

Cloth  of  gold  and  silver  woven  with  pastel  shades  of 
silk.  The  motive  of  the  design  is  a  huntsman  taking  aim 
from  the  branches  of  a  tree  at  two  lions  attacking  his 
horse. 

10.166  29  X  54  in. 

309  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1909. 

Cloth  of  gold  with  design  of  warring  birds  and  beasts 


NEAR  EASTERN  TEXTILES  PERSIAN  75 

in  pastel  shades,  with  touches  of  dark  blue.  The  phoenix 
or  fonghoang  attacking  the  fleeing  rabbit  is  a  distinctively 
Chinese  motive.    From  the  Fischbach  Collection. 

09.50.  II II  6>^x9^  in. 

310  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1915. 

Dark  purple  ground ;  pattern  in  gold  with  touches  of 
red  and  blue.  Serpentine  branches  of  tulip  and  rose 
sprays. 

111.  Cox,  pi.  33,  No.  2.   cf.  Coll.  KeL,  pi.  61,  No.  2. 
15. 126.3  ^Va  X  11^  in. 

311  BROCADE,  PERSIAN(?).   xvii  century. 

Purchase,  Rogers  Fund,  191 5. 

Cloth  of  silver  with  a  set  pattern  of  a  conventionalized 
leaf  form,  outlined  in  blue  and  tan. 

15. 125.8  12  X  I3>4  in. 

312  VELVET  BROCADE,  PERSIAN,   xvii  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  19 15. 

Cloth  of  gold  with  a  set  design  of  butterflies  and  five- 
lobed  leaf  forms  having  a  surface  pattern  of  floral  motives 
in  blue,  red,  and  green,  woven  in  cut  pile. 

Coll.  KeL,  pi.  97,  No.  2. 

L.1474.300  I3>4  X  52  in. 

313  BROCADE,  PERSIAN,   xvii  century. 

Gift  of  W.  R.  Valentiner,  1909. 
Crimson  ground  with  symmetrical  arrangement  of  con- 
ventionalized floral  sprays  in  gold  with  touches  of  green. 
09.101. 1  13^x38^^  in. 

314  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  191 5. 

Crimison  ground  with  serpentine  floral  sprays  and  small 
palmettes  in  gold  and  blue. 

15.87.2  I2j/^  X  25  in. 


76  SPECIAL  EXHIBITION  OF  TEXTILES 

315  BROCADE,  PERSIAN,   xvii  century. 

Purchase,  Rogers  Fund,  1908. 

Blue  ground  with  a  vertical  arrangement  of  conven- 
tionalized floral  sprays  in  gold,  with  touches  of  black  and 
pink. 

08.109.9  I2>4  X  18  in. 

316  BROCADE,  PERSIAN,   xvii  century. 

Edward  C.  Moore  Collection,  Bequeathed  1891. 

Fragment  with  border.  Cream-colored  ground  with 
typical  Herat  design  of  palmettes  and  leafy  scrolls  woven 
in  pastel  shades. 

91.1.25-a  isYz  x34  in. 

317  BROCADE,  PERSIAN,    xviii  century. 

Purchase,  Rogers  Fund,  1908. 

Dark  blue  ground  with  a  small  pattern  of  set  floral 
motives,  fish,  and  pairs  of  birds. 

08.197.4  16  x  22  in. 

318  BROCADE,  PERSIAN,    xviii  century, 

Edward  C.  Moore  Collection^  Bequeathed  1891. 

Dark  gray  satin  ground  with  set  design  of  individual 
palm  leaves  in  red  and  gold. 

91. 1. 7  lOj^  X  25  in. 

319  BROCADE,  PERSIAN,    xviii  century. 

Purchase,  Rogers  Fund,  1908. 

Tan  ground  with  design  in  shades  of  blue-green  and 
red.    Court  scene  with  dancer. 

08.173.5  20  X  29  in. 

320  BROCADE,  PERSIAN,    xvii-xviii  century. 

Purchase,  Rogers  Fund,  191 5. 

Sash  woven  in  a  striped  design  with  border  of  blossom- 
ing plant  forms.    See  text,  also  Nos.  383,  384. 

15.70.2  ,  23  X  180  in. 


NEAR  EASTERN  TEXTILES  ASIA  MINOR 


77 


ASIA  MINOR 

321  VELVET  BROCADE,  ASIA  MINOR,     xvi  cen- 
tury. 

Lent  by  the  Estate  of  Theodore  M.  Davis, 
1915. 

Crimson  velvet  ground ;  ogival  bands  with  lanceolate 
leaves  and  crowns  at  points  of  intersection.  Central  de- 
vice, tulip  form  with  pointed  crown  and  curled  leaves. 

111.  Von  Falke,  No.  604;  cf.  Errera,  No.  222;  Coll. 
Kel.,  pi.  83,  No.  I. 

L.1474.291  25x66  in. 

322  VELVET  BROCADE,  ASIA  MINOR,    early  xvi 

CENTURY. 

Gift  of  P.  W.  French  &  Co.,  1912. 
Crimson  velvet  ground.    Set  pattern  of  fanlike  device 
in  tan  with  red  veinings. 

12.144.1  24  X  24  in, 

323  VELVET  BROCADE,  ASIA  MINOR,   xvi  century. 

Lent  by  Mrs.  Charles  T.  Barney,  19 15. 

Crimson  velvet  ground  with  palmettes  of  lanceolate 
leaves  and  central  cone  motive  in  silver,  A  similar  velvet 
from  a  Sultan's  dress,  dated  about  1560,  is  preserved  in 
the  Imperial  Treasury  at  Constantinople. 

cf.  Martin,  Oriental  Carpets,  p.  288. 

L.1460.31-32  51x62  in. 

324  VELVET  BROCADE,  ASIA  MINOR,    early  xvi 

CENTURY. 

Lent  by  the  Estate  of  Theodore  M.  Davis, 
1915. 

Rose  red  ground  with  Turkish  variant  of  the  Italian 
pomegranate  pattern,  woven  in  silver.  Similar  to  No. 
321. 

cf.  Von  Falke,  vol.  2,  No.  604;  Errera  Collection, 
Brussels,  No.  222;  Coll.  Kel.,  pi.  83. 

L.1474.290  255^x33%  in. 


78 


SPECIAL  EXHIBITION  OF  TEXTILES 


325  VELVET  BROCADE,  ASIA  MINOR  OR  ITAL- 
ian,   late  xv  century. 

Purchase,  Rogers  Fund,  191 2. 

Crimson  velvet  ground  with  graceful  design  of  ara- 
besque scrolls  and  pointed  leaves  wrought  in  gold.  This 
pattern  is  of  Near  Eastern  origin,  but  velvets  of  similar 
design  were  made  in  Venice  to  compete  with  the  trade  of 
the  Levant. 

cf.  Cole,  Fig.  74;  Cox,  pi.  50,  No.  2. 

12.49.5  25  X  I02j^  in. 

326  VELVET  BROCADE,  ASIA  MINOR,   xvi-xvii  cen- 
tury. 

Purchase,  Rogers  Fund,  1908. 

Crimson  velvet  ground.  Design  of  three  balls  and  con- 
ventionalized tiger  stripes  in  metal  thread.  The  motive 
of  the  three  balls  w^as  very  common  in  Turkey  in  the 
sixteenth  century.  The  tomb  of  Selim  II  in  Stamboul  is 
covered  with  brocades  bearing  this  design,  while  on  faience 
tiles  in  the  time  of  Sultan  Ahmed  they  appear  alone  or 
with  the  tiger  stripes.  These  devices  were  used  only  in 
imperial  mosques,  as  they  seem  to  have  been  imperial  pre- 
rogatives. There  are  two  panels  of  such  tiles  in  Wing  E, 
Room  13.  The  ball  motive  appears  much  earlier  in 
Chinese  silks  found  in  Egyptian  tombs;  while  in  the  begin- 
ning of  the  fifteenth  century  it  was  used  on  the  coins  of 
Timur  and  as  a  decoration  of  his  great  buildings  in  Samar- 
kand. Perhaps  it  was  after  his  conquest  of  the  Turks  in 
1402  that  this  symbol  of  imperial  power  became  usual  in 
the  Near  East. 

Similar  pieces  in  the  Victoria  and  Albert  Museum  (Sec- 
tion Oriental,  No.  356)  and  in  Brussels. 

cf.  Errera,  No.  137;  Martin,  Fig.  326. 

08.109.23  24^^x27^  in. 

327  VELVET  BROCADE,  ASIA  MINOR,  xvii  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  i9I5' 
Crimson  velvet  ground  with  fanlike  device  in  cream- 
colored  satin  charged  with  sprays  of  tulips  and  carna- 
tions, in  red  and  green;  smaller  leaf  motives  in  metal 
thread. 


325      VELVCT  BROCADE,  ASIA  MINOR  OR  ITALIAN 
LATE  XV  CENTURY 


NEAR  EASTERN  TEXTILES  ASIA  MINOR  79 

cf.  Von  Falke,  606;  Coll.  KeL,  93,  No.  2. 
L.1474.307  243^  X57  in. 

328  VELVET  BROCADE,  ASIA  MINOR,    xviii  cen- 
tury. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  19 15. 

Rose  red  ground  with  conventionalized  floral  sprays  in 
red,  green,  and  metal.    Bordered  field  and  ends. 

L.1474.294  26x53  in. 

329  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Purchase,  Rogers  Fund,  1915. 

Crimson  velvet  ground  with  design  of  broad  ogivai 
bands  in  tan,  originally  metal  thread,  framing  a  central 
palmette  of  lanceolate  leaves  and  branching  tulip  sprays. 

15. 138. 1  25  X  61  in. 

330  VELVET  BROCADE,  ASIA  MINOR,   xvi  century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Crimson  ground  with  bold  design  of  large  fan-shaped 
device  and  lanceolate  leaves  woven  in  cloth  of  silver  with 
crimson  veining. 

A  similar  piece  in  the  Errera  Collection,  No.  273,  and 
in  the  Dresden  Museum;  see  pi.  12,  No.  i. 

L.1460.33,34  48x54  in. 

331  BROCADE,  ASIA  MINOR  OR  PERSIA,    xvi  cen- 
tury. 

Purchase,  Rogers  Fund,  1908. 

Blue  ground  with  formal  arrangement  of  reversed 
lanceolate  leaves  on  serpentine  stem,  in  gold  outlined  with 
white. 

08.109.4  26  X  58  in. 

332  BROCADE,  ASIA  MINOR,    xvi  century. 

Purchase,  Rogers  Fund,  1915. 

Crimson  satin  ground  w^ith  design  of  vertical  serpentine 
bands  of  floral  ornament  and  branches  of  palmette  and 


8o  SPECIAL  EXHIBITION  OF  TEXTILES 

lanceolate  leaves  wrought  in  gold  with  superimposed  floral 
motives  in  red,  green,  and  blue. 

15. 125.9  2Sy2  X  52  in. 

333  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Purchase,  Rogers  Fund,  1915. 

Red  ground  with  bold  design  and  palmettes  in  gold; 
conventional  floral  forms  and  the  three-ball  motive,  in 
green  and  silver,    cf.  No.  326. 

cf.  Coll.  Kel.,  pi.  87,  No.  2. 

15.114  24  X  56  in. 

334  BROCADE,  ASIA  MINOR  (?).   xvi  century. 

Purchase.  Rogers  Fund,  1912. 

Green  velvet  ground  with  a  formal  arrangement  of  con- 
ventionalized tulips  and  lanceolate  leaves  wrought  in  silver 
and  green. 

12.49.6  47>4  X  I03>4  in. 

335  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Ground  of  dull  pink  satin  with  a  bold  design  of  ogival 
bands  framing  a  central  cone  motive  surrounded  by  balls 
wrought  in  metal  thread  with  touches  of  green. 

cf.  Cox,  pi.  55,  No.  2;  Lessing,  pi.  318. 

L.1531.3  24x59  in. 

336  VELVET  BROCADE,  ASIA  MINOR,    early  xvi 
century. 

Lent  by  Mrs.  Charles  T.  Barney,  191 5. 

Crimson  ground  with  design  of  formal  leaf  panels  in- 
closing a  fanlike  device  of  conventionalized  floral  forms 
woven  in  gold,  with  traces  of  gray  velvet  ground. 

L.I  460.30 

337  VELVET  BROCADE,  ASIA  MINOR,    xvii  cen- 
tury. 

Purchase,  Rogers  Fund,  1908. 

Gray  uncut  velvet  ground  with  ogival  pattern  in  cream- 
colored  satin  inclosing  conventionalized  tulip  forms. 
08.109.22  24x63  in. 


VELVET   BROCADE,  ASIA  MINOR 
EARLY  XVI  CENTURY 

Lent  by  Mrs.  Charles  T.  Barney 


NEAR  EASTERN  TEXTILES  ASIA  MINOR  8 1 

338  SATIN  BROCADE,  ASIA  MINOR,   xvi  cexNtury. 

Purchase,  Rogers  Fund,  1908. 

Crimson  ground  with  serpentine  stems  of  lanceolate 
leaves  and  tulips  in  blue,  white,  and  yellow, 
cf.  Coll.  Kel.,  pL  52. 

08.109.25  27  X  72  in. 

339  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Blue-black  ground  of  velvet  with  a  delicate  scroll 
tracery  in  red  and  bold  ogival  bands  with  lanceolate  leaves 
framing  central  medallion  in  metal  thread. 

cf.  Lessing,  pi.  318;  Cox,  pi.  55,  No.  2. 

L, 1 53 1.4  24>^  X  62  in. 

340  COAT  IN  SILK  TAPESTRY,  SYRIAN,   xviii  cen- 
tury. 

Purchase,  Rogers  Fund,  1915. 

Woven  in  two  shades  of  brown  and  silver  with  details 
in  dull  blue  and  pink.  Design  of  stripes  and  rhombic 
pattern. 

15.37  Length,  36  in. 

341  COAT  IN  SILK  TAPESTRY,  SYRIAN,   xviii  cen- 
tury. 

Lent  by  Dr.  Denman  W.  Ross,  191 5. 

Similar  to  No.  340,  but  in  brighter  colors.  Exhibited 
in  the  Paterson  Historical  Exhibition  of  Textiles,  191 5. 
L.I 520.6  Length,  36  m. 

342  VELVET  BROCADE,  ASIA  MINOR,   xvi  century. 

Purchase,  Rogers  Fund,  19 15. 

Tan  ground  with  bold  design  in  metal  thread  of  ogival 
bands  and  interlacing  tulip  sprays  framing  a  central 
palmette.  Exhibited  in  the  Historical  Exhibition  of  Tex- 
tiles at  Paterson. 

cf.  Lyons,  pi.  26,  No.  2. 

15. 138. 2  24  x  50  in. 


82 


SPECIAL  EXHIBITION  OF  TEXTILES 


343  BROCADE,  ASIA  MINOR,   xvii  century. 

Gift  of  J.  Pierpont  Morgan,  1906. 

Chasuble;  red  ground,  formal  design  of  palmettes  and 
lanceolate  leaves  in  cloth  of  gold  outlined  in  blue  and 
white. 

06.1210  27j^  X  78  in. 

344  GOLD  BROCADE,  ASIA  MINOR,   xvi  century. 

Purchase,  Rogers  Fund,  1912. 

Man's  coat,  cloth  of  gold  with  floral  sprays  and  un- 
dulating bands  in  red,  blue,  and  green. 

12.127  53K  x54>^  in. 

345  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  1915. 

Crimson  velvet  with  large  fields  of  blue  in  pointed 
ovals  forming  a  background  for  a  surface  pattern  of  bold 
scrolls  in  metal  thread  outlined  in  red. 

111.  Cox,  L'Art  decorer  les  tissus,  pi.  XXVI,  No.  7. 

L.1531.6  18  x  59  in. 

346  VELVET  BROCADE,  ASIA  MINOR,    xv-xvi  cen- 
tury. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Crimson  velvet  ground  with  ogival  pattern  of  pointed 
leaves  inclosing  small  central  cone  device  in  five-lobed  leaf 
form  of  blue  scrolls.  This  fabric  may  possibly  be  Vene- 
tian work  influenced  by  the  Orient.  The  conventional 
five-lobed  leaf  outline  framing  the  central  device  is  a 
recurrent  m.otive  in  Italian  weaves  of  the  middle  of  the 
fifteenth  century. 

L.1531.2  25  x  45  in. 

347  BROCADE,  ASIA  MINOR,    xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Crimson  satin  ground  with  a  bold  ogival  pattern  of 
pointed  arabesque  leaves,  framing  a  central  medallion 
woven  in  metal  in  green  velvet  background,  the  red  satin 
ground  appearing  in  a  surface  pattern  in  delicate  scrolls. 


NEAR  EASTERN  TEXTILES  ASIA  MINOR  83 

Brocades  of  this  type  may  be  Venetian  adaptations  of 
Oriental  patterns, 
cf.  Errera,  No=  158. 

L.1531.7  25  X43^  in. 

348  VELVET  BROCADE,  ASIA  MINOR,    xvii  cen- 
tury. 

Gift  of  J.  Pierpont  Morgan,  1906. 

Striped  weave,  in  pink,  blue,  and  cream. 

06.947  60  X  65  in. 

349  VELVET  BROCADE,  ASIA  MINOR,    xvii  cen- 
tury. 

Purchase,  Rogers  Fund,  1915. 

Red  velvet  ground  with  design  of  formal  cypress  trees 
alternating  w^ith  tulip  and  carnation  motives. 

1 5. 1 26.5  20/2  X  49  in. 

350  VELVET,  ASIA  MINOR,    xvi  century. 

Lent  by  Pratt  Institute  of  Brooklyn,  191 5. 

Green  velvet  ground  with  ogival  pattern  of  interlaced 
bands  and  tulip  branches  inclosing  central  cone  motive  in 
tan,  originally  metal  thread. 

L.1531.5  26  X  48  in. 

351  VELVET  BROCADE,  ASIA  MINOR,   xvi  century. 

Gift  of  P.  W.  French  &  Co.,  19 12. 

Green  velvet  ground,  design  originally  woven  in  silver. 

Ogival  bands  inclosing  ball  motive,  with  crescent  at 
intersection  framing  central  palmette  motive  charged  with 
tulips  and  carnations. 

111.  Cox,  pL  30,  No.  2;  Lyons,  pi.  XXVI,  No.  3. 

1 2. 1 44.2  205^  X  48  in. 

352  SILK  BROCADE,  ASIA  MINOR,  xvi-xvii  century. 

Purchase,  Rogers  Fund,  19 15. 

Striped  weave  of  gold,  silver,  and  red  with  closed 
crescents  in  colors  arranged  in  groups  of  three. 

15. 125. 7  6  X  i6><  in. 


84 


SPECIAL  EXHIBITION  OF  TEXTILES 


353  VELVET    BROCADE,    ASIA    MINOR.  xvi-xvii 


CENTURY. 

Purchase,  Rogers  Fund,  1915. 

Crimson  velvet  ground  w^ith  the  three-ball  motive  com- 
bined with  that  of  the  conventionalized  tiger  stripe,  cf. 
note,  No.  326. 

15. 125.6  10  X  27  in. 

354  BROCADE,  ASIA  MINOR,   xvi  century. 

Purchase,  Rogers  Fund,  igo8. 

Cloth  of  gold  with  design  of  pointed  ovals  in  crimson 
and  blue,  Cufic  inscription,  and  Chinese  flame  motive. 
08.109.10  14  X  49  in. 

355  SATIN  BROCADE,  ASIA  MINOR,   xvi  century. 

Purchase,  Rogers  Fund,  1908. 

Crimson  satin  ground  with  palmettes  in  cloth  of  silver 
bordered  with  blue,  inclosed  in  a  framework  of  arabesques 
combined  with  Chinese  cloud  device. 


356  SILK  BROCADE,  ASIA  MINOR,    xvi  century. 
Purchase,  Rogers  Fund,  1908. 

Crimson  satin  ground  with  ogival  banding  in  silver, 
overspun  with  sprays  of  pomegranates  and  tulips  in  red, 
green,  and  yellow,  inclosing  palmettes  of  floral  forms. 


357  BROCADE,  ASIA  MINOR,   xvi  century. 
Purchase,  Rogers  Fund,  191 5. 

Red  satin  ground.  Pattern  woven  in  gold  with  touches 
of  blue  and  green ;  design  of  leaves  springing  from  pome- 
granate buds  and  framJng  palm.ettes  charged  with  floral 
forms. 

15. 125. 5  1054  X  28^4  i"- 


Coll.  Kel.,  pi.  36. 
cf.  08.109.24 


14J4  X  54  in. 


cf.  Coll.  Kel,  pi.  42  (2). 
08.109.5 


19x50}^  in. 


NEAR  EASTERN  TEXTILES  ASIA  MINOR  85 

358  SATIN  BROCADE,  ASIA  MINOR  (BROUSSA). 
xvi  century. 

Lent  by  Dr.  Denman  W.  Ross,  19 15. 
Green  satin  ground,  with  floral  pattern  woven  in  red, 
green,  and  silver. 

L.1520.5  II  X  16  in. 

359  BROCADE,  ASIA  MINOR,   xvi  century. 

Purchase,  Rogers  Fund,  1915. 

Cloth  of  gold  with  design  of  pointed  oval  fields  in 
crimson  and  green. 

15.87. 1  10x25^  in, 

360  VELVET  BROCADE,  ASIA  MINOR,  xvi  century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  1915. 

Crimson  ground  with  set  pattern  of  disks  of  cloth  of 
silver  inclosing  floral  forms  and  crescents  in  red  and  green. 
End  borders. 

cf.  Cox,  pi.  32,  No.  2;  Coll.  Kel.,  pis.  89  (i);  90 
(2). 

L.1474.292  26  X  48  in. 

361  VELVET  BROCADE,  ASIA  MINOR,    early  xvi 
century. 

Lent  by  the  Estate  of  Theodore  M.  Davis,  1915. 
Crimson  velvet  ground  w^ith  a  bold  design  of  large  seed 
cones,  woven  in  metal  thread  on  yellow. 

L.1474.297  25^x45%  in. 

362  BROCADE,  ASIA  MINOR,    xvi  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Red  ground.  Ogival  framework  and  inclosed  palmette 
form  in  silver  charged  with  arabesque  and  floral  vine  in 
blue.    Crescent  forms  arranged  in  groups  of  three. 

111.  Badia  Coll.,  pL  XXV,  No.  146. 

L.1533.4  13^/2  X25  in. 

363  BROCADE,  ASIA  MINOR,    xvi-xvii  century. 

Purchase,  Rogers  Fund,  1915. 

Crimson    satin    ground    with    design    of  serpentine 


86 


SPECIAL  EXHIBITION  OF  TEXTILES 


branches  with  reversed  leaves  woven  in  tan  and  blue,  out- 
lined with  white. 

15. 125. 3  14x21  in. 

364  BROCADE,  ASIA  MINOR,   xvi  century. 
Purchase,  Rogers  Fund,  1908. 

Ogival  framework  in  red  inclosing  medallions  charged 
with  carnations  and  hyacinths  on  field  of  gold. 
111.  Coll.  Kel.,  pi.  36,  No.  I. 

08.109.6  24  X  40  in. 


SARACENIC  AND  HISPANO-MORESQUE 

365  BROCADE,  SARACENIC,    xiv-xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Blue  silk  ground  with  design  of  crescents  in  silver. 
111.  Errera,  No.  66;  cf.  Lessing,  pi.  56  (d). 
L.1533.13  654  X  11^  in. 

366  SILK  WEAVE,  HISPANO-MORESQUE.    xiii  cen- 
tury. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 

Striped  fabric,  with  bands  of  Neskhi  inscriptions  in 
gray  on  red,  alternating  with  bands  of  dark  blue,  edged 
with  tan.  Fragment  of  the  mantle  of  Dona  Leonor  de 
Castro,  second  wife  of  Don  Felipe,  fifth  son  of  San  Fer- 
nando, first  archbishop  of  Seville.  It  was  discovered  in 
the  tomb  of  this  Infanta,  which  still  exists  at  Villarcasar 
de  Sirga  in  the  province  of  Palencia,  Spain. 

Exhibited  in  the  Paterson  Historical  Exhibition  of  Tex- 
tiles, 191 5. 

111.  Errera,  No.  18;  cf.  Coll.  Kel,  pi.  21,  No.  i. 
L.1533.15  8x  16  in. 

367  SILK    WEAVE,     HISPANO-MORESQUE.  xiii 
century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  19 15. 

Striped  fabric  with  bands  of  Neskhi  inscription,  white 


368      SII:K  and  cotton  weave,  IirSIWNO-MORESOUE 
XTV  CENTURY 

Lent  b}-  tlic  Museum  for  the  Arts  of  Decoration  at 
Cooper  Union 


NEAR  EASTERN  SARACENIC  AND  HISPANO-MORESQUE  87 


on  black,  alternating  with  bands  of  ornament  in  red.  Cut 
in  the  form  of  a  cope  hood. 

Interesting  as  showing  the  use  of  pagan  stuffs  with 
Koranic  inscriptions  for  the  making  of  vestments  in  the 
Christian  church.  Exhibited  in  the  Historical  Exhibition 
of  Textiles  in  Paterson,  191 5. 

cf.  Von  Falke,  No.  372. 

L.1533.16  16  X  19^  in. 

368  SILK    AND    COTTON    WEAVE,  HISPANO- 
MORESQUE.    XIV  CENTURY. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Striped  fabric  in  polychrome  with  alternate  bands  of 
ornament  and  inscription  in  Neskhi  lettering,  a  quotation 
from  the  Koran. 

111.  Errera,  No.  76. 

L.1533.28  18  X  25^  in. 

369  BROCADE,    HISPANO-MORESQUE.     xiv  cen- 
tury. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Yellow  ground  with  design  in  red,  green,  black,  and 
white.  Pattern  of  interlaced  bands  with  bands  of  inscrip- 
tion in  border. 

Patterns  of  this  type  may  be  traced  back  to  the  Coptic 
tapestries  of  the  late  Roman  period  (cf.  Nos.  3,  4). 

Exhibited  in  the  Paterson  Historical  Exhibition  of  Tex- 
tiles, 1915. 

111.  Errera,  No.  79;  cf.  Von  Falke,  No.  371;  Lessing, 
No.  125;  Migeon,  No.  352. 

L.1533.24  7x42111. 

370  BROCADE,  HISPANO-MORESQUE.    xiv  century. 

Gift  of  F.  A.  Meyer-Riefstahl,  191 5. 
Fragment  of  brocade  with  design  of  interlacing  bands 
in  red  and  gold,  with  touches  of  blue. 

15.134  X4^  in. 


88  SPECIAL  EXHIBITION  OF  TEXTILES 

371  BROCADE,  HISPANO-MORESQUE.    xiv-xv  cen- 
tury. 

Purchase,  Rogers  Fund,  19 12. 

Three  fragments  of  brocade  with  designs  of  interlacing 
bands  in  characteristic  Spanish  colorings. 
12.55.5-a,  b,  c 

372  BROCADE,  HISPANO-MORESQUE.    xiii  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Woven  in  bufF,  blue,  and  gold  thread.  Design  of  nar- 
row interlacing  bands  forming  an  eight-pointed  star  pat- 
tern. Fragment  of  robe  from  the  tomb  of  the  infant  Don 
Felipe,  fifth  son  of  San  Fernando,  first  archbishop  of 
Seville. 

J.  Pierpont  Morgan  Coll.,  formerly  in  the  Stanislas 
Baron  Coll. 

111.  Lessing,  pi.  124,  No.  3;  cf.  Errera,  No,  19. 
L.1533.12  10  X  12  in. 

373  BROCADE,  HISPANO-MORESQUE,    xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Red  ground  with  pattern  woven  in  yellow  with  touches 
of  green.  The  field  has  a  close  pattern  of  small  arabesques 
in  yellow,  that  form  a  background  to  large  and  small 
circular  devices  with  red  fields. 

L,i533.6  io>^  X  19  in. 

374  BROCADE,  HISPANO-MORESQUE.    xiv-xv  cen- 
tury. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  1915. 

Brocade  woven  in  red  and  gold  with  touches  of  blue; 
design,  a  geometric  arrangement  of  arabesques  and  conven- 
tional leaf  forms  alternating  with  circles  framing  a  similar 
device. 

cf.  Coll.  Badia,  No.  114. 

L,i533.7  10  X  i3j^  in. 


NEAR  EASTERN  SARACENIC  AND  HISPANO-MORESQUE  89 

374«  CHASUBLE,  HISPANO-MORESQUE.  xv  cen- 
tury. 

Lent  by  Mrs.  Charles  T.  Barney,  19 15. 
Silk  brocade;  yellow  ground  with  geometric  band  de- 
sign in  red. 

L.I 460.50  30  X  42  in. 

375  SILK  WEAVE,  HISPANO-MORESQUE.  xv  cen- 
tury. 

Purchase,  Rogers  Fund,  191 2. 

Banded  design,  red  ground  with  geometrical  pattern  in 
yellow. 

12.55.6  25  X  39  in. 

376  SILK  WEAVE  IN  THE  HISPANO-MORESQUE 
STYLE  BUT  OF  LATER  ORIGIN,  MOROCCAN. 
xvi  century  or  later. 

Purchase,  Rogers  Fund,  1909. 

Curtain  of  crimson  silk  with  horizontal  bands  of  geo- 
metric ornament  in  polychrome. 

09.160  70x87^^  in. 

377  SILK  SCARF  IN  THE  HISPANO-MORESQUE 
STYLE  BUT  OF  LATER  ORIGIN,  SPANISH  OR 
MOROCCAN.   XVIII  century. 

Edward  C.  Moore  Collection,  Bequeathed  1891. 
Crimson  ground  with  design  in  metal  thread.    An  all- 
over  geometric  pattern  with  border  of  arabesque  points. 
91. 1. 29  15/4  X  29^  in. 

378  DAMASK,  HISPANO-MORESQUE.    xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Red  ground  with  intertw^ining  arabesque  and  leaf  de- 
sign in  green,  white,  and  yellow.  Similar  piece  at  Musee 
de  Cluny. 

111.  Von  Falke,  373;  cf.  Fischbach,  pi.  204;  Col.  Kel., 
pi.  45,  No.  2;  Lessing,  pi.  127  (a)  ;  Errera,  No.  102. 
L.1533.1  12  x  I3j^  in. 


go  SPECIAL  EXHIBITION  OF  TEXTILES 

379  BROCADE,  HISPANO-MORESQUE.    xv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Dark  blue  satin  ground,  ogival  design  and  arabesques 
in  yellow  with  conventionalized  motives  in  green,  white, 
and  red. 

cf.  Von  Falke,  No.  373;  Lessing,  pi.  131  (a);  Pierce 
in  the  Kgm.,  Berlin. 

L.1533.14  iii/^  X  I9>^  in. 

380  BROCADE,  LATER  HISPANO-MORESQUE.  xv 

CENTURY. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Arabesques  in  red  framing  irregular  field  with  conven- 
tional pomegranate  tree  and  two  birds  in  White  aflEronte. 

111.  Lessing,  pi.  127,  No.  2;  cf.  Fischbach,  pi.  203, 
No.  2. 

L.1533.23  9x23  in. 

381  BROCADE,  LATER  HISPANO-MORESQUE.  xiv 
century. 

Gift  of  Herman  Van  Slochem,  191  i. 

Black  ground  with  red  arabesques  outlined  in  white, 
forming  heart-shaped  shields  charged  with  stylistic  pome- 
granate plant  and  two  crowned  lions  rampant.  Similar 
pieces  in  the  museums  of  Lyons,  Berlin,  and  Hamburg. 

111.  Fischbach,  pi.  18,  No.  3;  Cox,  pi.  44,  No.  3;  cf. 
Von  Falke,  No.  374;  Errera,  No.  103;  Lessing,  pi.  128. 

1 1.23  10  x  17  in. 

382  BROCADE,  LATER  HISPANO-MORESQUE.  xv 

CENTURY. 

Purchase,  Rogers  Fund,  191 5. 

Crimson  ground  with  pattern  woven  in  gold  and  green 
outlined  in  dark  blue.  Design,  a  palmette,  the  lion  of 
Castile,  and  the  shield  of  Granada,  bearing  a  Neskhi  in- 
scription, interspersed  w^ith  branching  leaf  forms.  A  simi- 
lar piece  in  the  Konigliche  Museum,  Berlin. 


NEAR  EASTERN  TEXTILES  PERSO-SLAVONIC  QI 

111.  Von  Falke,  vol.  2,  No.  370;  Fischbach,  pL  205, 
No.  2. 

1 5.49. 1  II  X  II  in. 

PERSO-SLAVONIC 

383  BROCADE,  POLISH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 

Sash  woven  in  stripes  of  floral  design  in  gold  thread 
and  polychrome.  Signed — Paschalis.  Sashes  of  similar 
fabrics  are  illustrated  in  Indian  miniatures  of  the  seven- 
teenth century. 

II. 58. 7  13  X  103  in. 

384  BROCADE,  POLISH,    xviii  century. 

Purchase,  Rogers  Fund,  191  i. 
Sash  similar  to  No.  383. 

II. 58.17  II  X  III  in. 


IV.    FAR  EASTERN  TEXTILES 


THE  great  antiquity  of  silk- weaving  in  China  has 
already  been  touched  upon  in  the  introduction  to  this 
catalogue,  but  it  may  be  of  interest  here  to  state  that 
the  discovery  of  the  art  of  rearing  silkworms,  as  well  as  the 
invention  of  the  loom,  are  both  traditionally  credited  to  the 
Empress  Hsi-ling  Shi,  wife  of  Huang  Ti,  the  Yellow  Emperor, 
first  of  the  Five  Rulers,  nearly  three  thousand  years  before  the 
Christian  era.  She  was  deified  and  faithfully  worshiped  down 
to  the  present  day,  an  annual  ceremony  being  held  in  her  honor, 
of  which  the  picking  of  mulberry  leaves,  the  food  of  the  silk- 
worm, is  a  solemn  part.  Until  the  change  of  rule  in  China, 
less  than  a  decade  ago,  the  Emperor,  according  to  Bushell, 
plowed  a  furrow  in  spring  as  first  agriculturist  of  the  country, 
while  the  Empress  ofFered  mulberry  leaves  at  the  altar  with 
her  own  hands  in  order  to  encourage  sericulture.  All  Chinese 
weaving  of  importance  is  of  silk,  and  the  three  pieces  of  ancient 
Chinese  textiles  included  in  the  exhibition  show  how  com- 
pletely the  technique  of  the  silk-loom  was  at  the  service  of  the 
Chinese  craftsmen  as  early  as  the  Sung  Dynasty,  which  reigned 
in  China  from  the  tenth  to  the  twelfth  century  of  our  era. 
One  of  these  pieces,  lent  by  Cooper  Union,  is  a  brocaded  satin, 
differing  in  no  essential  respect  from  the  stuffs  produced  in  the 
same  region  today,  while  the  other  two  examples,  both  belong- 
ing to  Mr.  Freer,  represent  early  tapestry-weaving  as  practised 
by  the  same  artist-workmen.  In  these  two  pieces  there  is  no 
hesitation,  no  capitulating  to  difficulties,  such  as  we  find  in  the 

92 


FAR  EASTERN  TEXTILES  93 

work  of  contemporary  European  craftsmen ;  only  a  complete 
control  of  the  technicalities  of  weaving,  as  well  as  knowledge 
of  its  limitations  and  its  possibilities,  could  produce  such  speci- 
mens of  the  textile  art.  The  exhibition  includes  no  examples 
of  textiles  made  during  the  succeeding  or  Ming  Dynasty,  but 
as  a  general  rule  stuflEs  of  this  time  indicate  the  develop- 
ment toward  bolder  shapes,  more  gorgeous  color,  and  a 
less  refined  art,  which  we  find  characteristic  of  porcelain  and 
painting  through  the  various  phases  of  culture  which  followed 
the  exquisite  refinements  of  the  Sung  period.  In  the  eighteenth 
century  technical  skill  had  again  become  more  than  adequate, 
and  the  silks  and  velvets  shown,  dating  from  that  period,  illus- 
trate quite  as  well  as  the  more  familiar  porcelains  the  artistic 
point  of  view  of  the  brilliant  civilization  of  the  time.  The  vel- 
vets— a  material  not  commonly  thought  of  as  Chinese — are 
especially  characteristic,  and  the  splendid  example  lent  by  Mr. 
George  Blumenthal  is,  in  its  different  medium,  as  successful  an 
artistic  expression  as  a  famille  verte  jar  or  a  Coromandel  lacquer 
screen. 

Japanese  weaving,  like  all  Japanese  art,  reflects  the  Chinese 
prototypes  from  which  it  is  derived.  The  Japanese  textiles  in- 
cluded in  the  exhibition  date  from  the  eighteenth  and  nine- 
teenth centuries,  and  their  similarity  to  Chinese  stuffs  of  the 
same  period  is  at  once  apparent.  Brocades  of  gold  and  color 
woven  in  superbly  daring  designs  have  long  been  popular  in 
Japan,  where  they  are  used  for  ceremonial  hangings  and  for 
costumes  at  the  No  dance.  The  tradition  of  their  manufacture 
still  exists  and  the  Japanese  textile  industry  has  been  less  cor- 
rupted than  some  of  the  other  national  arts  by  the  incursion 
of  European  influence  in  design. 

CHINESE 

385  SILK  TAPESTRY,  CHINESE,   sung  dynasty  (960- 

1277  A.D.). 

Lent  by  the  Smithsonian  Institution,  191 5. 
Panel  of  fine  silk  tapestry  with  a  design  of  peonies  and 


94 


SPECIAL  EXHIBITION  OF  TEXTILES 


Other  flowers  woven  in  tan  and  dull  bluish  green  on  a 
black  ground.    Collection  of  Charles  L.  Freer. 

1.5/^  X34>^  in. 

386  SILK  TAPESTRY,  CHINESE,    sung  dynasty  (960- 

1277  A.D.). 

Lent  by  the  Smithsonian  Institution,  191 5. 

Panel  of  exquisitely  fine  technique  with  design  of  tree, 
peony,  and  bird  in  neutral  tints.  Collection  of  Charles  L. 
Freer. 

gj/g  X  12^2  in. 

387  BROCADE,  CHINESE,    xiv  century. 

Lent  by  the  Museum  for  the  Arts  of  Decora- 
tion AT  Cooper  Union,  191 5. 

Blue-green  ground  with  design  woven  in  buff.  Scrolls 
and  lotus  medallions  with  central  disk  bearing  a  Chinese 
character. 

Fabrics  of  this  type,  w^oven  in  China  in  the  fourteenth 
century  and  found  in  Egyptian  tombs,  were  designed  as 
gifts  to  the  Mameluke  Sultans.  As  stated  by  Von  Falke, 
the  historian  Abdul  Feda  records  the  arrival  in  the  year 
1323  of  an  embassy  from  a  Mongolian  Khan  with  a  gift 
of  seven  hundred  pieces  of  stuff,  bearing  in  woven  charac- 
ters the  name  of  the  Sultan  Nasir  Eddin.  The  piece  in 
this  collection,  of  which  there  exists  another  fragment  in 
the  Errera  Collection  at  Brussels,  bears  the  shou  mark  for 
longevity.  Vestments  of  Chinese  fabrics  bearing  Arabic 
inscriptions  and  dating  from  this  period  are  preserved  in 
the  Altenkapelle  at  Regensburg. 

111.  in  Errera,  No.  72;  cf.  fragment  in  the  Kgm.,  Berlin; 
Von  Falke,  No.  332;  Fischbach,  pi.  261,  No.  i. 

L.1533.30  16  X  26  in. 

388  VELVET  PANEL,  CHINESE,    xviii  century. 

Lent  by  George  Blumenthal,  1915. 

Yellow  ground  with  leafy  scrolls  and  nelumbium  blos- 
soms woven  in  green  and  dull  pink.  A  narrow  floral 
border  between  two  wider  bands  of  key  pattern. 

L.1530.3  74  X  113  in. 


388     VELVET  PANEL,  CHINESE 
XVIII  CENTURY 

Lent  b}^  George  Blumenthal 


FAR  EASTERN  TEXTILES  CHINESE  95 

389  VELVET   HANGING,   CHINESE,    xviii-xix  cen- 
tury. 

Purchase,  Rogers  Fund,  1909. 

Orange-red  ground,  design  in  metal  thread  of  archaic 
dragon  scrolls  and  shou  mark  framed  in  three  panels  by 
borders  of  fret. 

09.13.16  60x68  in. 

390  DAMASK,  CHINESE,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Buff  satin  ground  with  design  in  same  tone.  Delicately 
scrolled  ogives  inclosing  central  lotus  motive.  From  the 
Fischbach  Collection.  The  design  is  of  the  same  general 
character  as  the  Persian  piece  illustrated  by  Von  Falke,  No. 

343. 

09.50.960 

391  SILK  TAPESTRY  (KO'SSEU),  CHINESE,  xviii 

CENTURY. 

Purchase,  Rogers  Fund,  1909. 

Faded  red  ground  vrith  floral  medallions  and  scrolls  in 
shades  of  blue  and  cream. 

09.13.17  16  X  96  in. 

392  BROCADE,  CHINESE,    xviii  century. 

Edward  C.  Moore  Collection,  Bequeathed  1891. 
Olive  silk  ground  with  widely  separated  medallions  in 
blue. 

91. 1. 48  43^  x  64  m. 

393  VELVET  BROCADE,  CHINESE,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Green  satin  ground  with  design  of  formal  sprays  of 
lotus  blossoms  in  brown,  woven  in  cut  pile.  From  the 
Fischbach  Collection. 

09.50.1 106  14x17  in. 


96 


SPECIAL  EXHIBITION  OF  TEXTILES 


JAPANESE 

394  GOLD  BROCADE,  JAPANESE,    xviii  century. 

Edward  C.  Moore  Collection,  Bequeathed  1891. 
Ground  of  small  hexagonal  pattern  with  evenly  dis- 
tributed lotus  leaves  and  figures  in  gold  and  polychrome. 
91. 1.44  20x41  in. 

395  BROCADE,  JAPANESE,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Dark  blue  satin  ground,  arabesque  floral  design  and 
birds  in  gold  thread  and  polychrome. 

09.50.2714  24x27^^  in. 

396  BROCADE,  JAPANESE,    xviii  century. 

Purchase,  Rogers  Fund,  1910. 

Tan  silk  ground  with  designs  of  five-clawed  imperial 
dragons  and  cloud  motives  in  silver  thread  and  polychrome. 
10.10  54  X  54  in. 

397  BROCADE,  JAPANESE,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Blue  satin  ground  with  conventionalized  floral  forms 
in  red,  green,  white,  and  tan;  scrolling  leaf  forms  and 
butterflies  in  gold. 

09.50.2669 

398  BROCADE,  JAPANESE,    xviii  century. 

Purchase,  Rogers  Fund,  1909. 

Black  ground  with  formal  pattern  of  peony  blooms  and 
scrolls  in  pink  and  gold.    From  the  Fischbach  Collection. 
09.50.962  i6x23>^  in. 

399  BROCADE,  JAPANESE,    xviii  century. 

Edward  C.  Moore  Collection,  Bequeathed  1891. 

Dark  blue  ground.  Large  floral  medallions  in  gold  and 
tan,  red,  green,  and  blue.  Pairs  of  small  birds  in  the 
intervening  field  space. 

91. 1. 15  i8j^  X  19  in. 


i 

FAR  EASTERN  TEXTILES  JAPANESE  97 

400  BROCADE,  JAPANESE,  xviii  century. 
Purchase,  Rogers  Fund,  1909. 

Black  satin  ground.  Design  in  gold,  red,  white,  and 
green;  alternating  rows  of  medallions  and  floral  forms. 
From  the  Fischbach  Collection. 

09.50.2715  I5J/^  X31  in. 


BIBLIOGRAPHY 

Algoud,  Henri.    Le  Velours.  Paris. 

Badia,  D.  Francisco  Miquel  Y.    Collection  de  tissus  anciens. 
Barcelona,  1900. 

Chattraire,  Eugene.     Les  Tissus  anciens  du  tresor  de  la 
Cathedrale  de  Sens.    Paris,  191 1. 

Cole,  Alan  S.    Ornament  in  European  Silks.    London,  1899. 

Collection  Kelekian.   Etoffes  et  tapis  d'Orient  et  de  Venise. 
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Cox,  Raymond.    Les  Soieries  d'art.    Paris,  191 4. 

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Dreger,  Moriz.    Kiinstlerische  Entwicklung  der  Weberei  und 
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FoRRER,  R.     Romische  und  byzantinische  Seiden-Textilien. 
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Gerspach,  M.    Les  Tapisseries  coptes.    Paris,  1890. 

HiNZ,  A.    Die  Schatzkammer  der  Marienkirche  zu  Danzig. 
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BIBLIOGRAPHY  QQ 

KuMSCH,  Prof.  E.  Muster  orientalischer  Gewebe  und  Druck- 
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Lessing,  Julius  von.  Gewebe-Sammlung  des  K.  Kunstge- 
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Martin,  F.  R.   Morgenlandische  Stoffe.    Stockholm,  1897. 

Stickereien  aus  dem  Orient.    Stockholm,  1899. 
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Die  persischen  Prachtstoffe.    Stockholm,  1901. 
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Vienna,  1908. 

MiGEON,  Gaston.  Manuels  d'histoire  de  Part.  Les  Arts  du 
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Neugebauer,  Rudolf,  und  Orendo,  Julius.  Handbuch  der 
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Polo,  Marco.    Cordier  Edition.    2  vol.    London,  1903. 

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